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 Kiribati and from Stockholm.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lagos and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Rakim to the electroclash kids.
I played it at the Spitz.
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 Byron Stingily. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Kaleidoscope,
Rod Modell,
Marvin Gaye,
Groovy Waters,
Skaos,
Harry Pussy,
MDC,
Bobby Sherman,
Ash Ra Tempel,
The Offenders,
Metal Thangz,
Ken Boothe,
Bronski Beat,
Nas,
Mad Mike,
Chrome,
Jeff Mills,
Accadde A,
Louis and Bebe Barron,
The Birthday Party,
World's Most,
Barbara Tucker,
Black Sheep,
The Divine Comedy,
The Wake,
The Electric Prunes,
Kango’s Stein Massive,
Leonard Cohen,
Iggy Pop,
Jacob Miller,
Gian Franco Pienzio,
Hoover,
Barrington Levy,
The Shadows of Knight,
Wings,
Robert Görl,
Boredoms,
Icehouse,
Lungfish,
Al Stewart,
Pharoah Sanders,
Lower 48,
Piero Umiliani,
Kevin Saunderson,
Donny Hathaway,
One Last Wish,
Moebius,
June of 44,
Sound Behaviour,
Eric Copeland,
Avey Tare & Kría Brekkan,
Vainqueur,
Tim Buckley,
Minor Threat,
The Fire Engines,
The Grass Roots,
Black Pus,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.