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 Kazakhstan and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
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 clarinet 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 Eric B and Rakim to the electroclash kids.
I played it at the 40 Watt.
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 Sandy B. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker + Sunn O))),
Peter & Gordon,
Mo-Dettes,
John Holt,
Slave,
Connie Case,
Marmalade,
Cluster,
Country Teasers,
Black Moon,
Roy Ayers,
David McCallum,
Kerrie Biddell,
Fad Gadget,
Monolake,
Excepter,
Scan 7,
Gabor Szabo,
Barry Ungar,
The Kinks,
Jawbox,
Al Stewart,
Rekid,
Average White Band,
Big Daddy Kane,
R.M.O.,
Deutsch Amerikanische Freundschaft,
Warren Ellis,
Alton Ellis,
Eli Mardock,
The Barracudas,
The Misunderstood,
Lower 48,
Fugazi,
Dual Sessions,
Neil Young,
Albert Ayler,
Pet Shop Boys,
Rosa Yemen,
Dead Boys,
Cecil Taylor,
Deakin,
Model 500,
Dr. Dre and Snoop Doggy Dog,
the Swans,
U.S. Maple,
Section 25,
The Mummies,
Sugar Minott,
Ultimate Spinach,
Lucky Dragons,
Notorious Big And Bone Thugs,
Brick,
A Certain Ratio,
Colin Newman,
The Index,
Kango’s Stein Massive,
Hot Snakes,
Reagan Youth,
Scion,
The Moleskins,
Soft Machine,
Erykah Badu,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.