Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Croatia and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1971.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Masters at Work to the electroclash kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jacob Miller. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Fela Kuti,
Liaisons Dangereuses,
Janne Schatter,
Outsiders,
Notorious Big And Bone Thugs,
Archie Shepp,
Brass Construction,
DNA,
Gil Scott Heron,
Ultravox,
Sällskapet,
Darondo,
Make Up,
Yaz,
Soulsonic Force,
Angels of Light & Akron/Family,
Unwound,
10cc,
It's A Beautiful Day,
Kings Of Tomorrow,
Severed Heads,
the Bar-Kays,
Scott Walker + Sunn O))),
The Associates,
Lee Hazlewood,
James Chance & The Contortions,
Deepchord,
Graham Central Station,
The Moody Blues,
Duran Duran,
The Alarm Clocks,
The Count Five,
Youth Brigade,
Grandmaster Flash and the Furious Five,
Section 25,
Vaughan Mason & Crew,
Electric Light Orchestra,
The Doors,
Sandy B,
The New Christs,
Arab on Radar,
The American Breed,
Tomorrow,
Lou Reed & Metallica,
Ultimate Spinach,
Rakim,
Lalo Schifrin,
Camberwell Now,
8 Eyed Spy,
Be Bop Deluxe,
Ten City,
The Blues Magoos,
The Gun Club,
Hasil Adkins,
Vainqueur,
Juan Atkins,
Moebius,
Fort Wilson Riot,
the Swans,
Japan,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.