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 San Marino and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Taipei and Johannesburg.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Section 25 to the rap kids.
I played it at the Troubador.
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 Gil Scott Heron. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Sun Ra,
Gerry Rafferty,
Black Bananas,
Colin Newman,
Zero Boys,
Anakelly,
Interpol,
Glenn Branca,
The Young Rascals,
Tomorrow,
Amazonics,
Alice Coltrane,
Soul II Soul,
The Cure,
Fort Wilson Riot,
DJ Style,
The Doors,
Sun Ra Arkestra,
Quantec,
Dennis Brown,
The Golliwogs,
Stetsasonic,
Bauhaus,
Red Lorry Yellow Lorry,
Lindisfarne,
Rufus Thomas,
Stereo Dub,
The Motions,
Von Mondo,
Alton Ellis,
The Techniques,
The Buckinghams,
Maleditus Sound,
The Busters,
Bush Tetras,
Jacques Brel,
Clear Light,
Section 25,
Roxy Music,
Howard Jones,
Cameo,
The Black Dice,
Public Enemy,
Dorothy Ashby,
Richard Hell and the Voidoids,
Big Daddy Kane,
Pharaoh Sanders and the Fire Engines,
Fatback Band,
Newcleus,
The Trojans,
Yaz,
The Kinks,
Pylon,
Nation of Ulysses,
Carl Craig,
Lalann,
The Sonics,
Boogie Down Productions,
Eric B and Rakim,
Deutsch Amerikanische Freundschaft,
The American Breed,
Grauzone,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.