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 Canada and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lille and Hong Kong.
I'm losing my edge to the art-school Houston 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 Donald Fagen 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 Lower 48 to the electroclash kids.
I played it at the Roxy.
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 Kerri Chandler. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Barbara Tucker 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
John Lydon,
Marine Girls,
the Soft Cell,
Crooked Eye,
Mr. Review,
Gil Scott-Heron and Jamie xx,
Crash Course in Science,
MDC,
The Gap Band,
Erasure,
Nico,
The Royal Family And The Poor,
Shuggie Otis,
Tomorrow,
DNA,
Black Pus,
Gang Starr,
Popol Vuh,
Sarah Menescal,
Tres Demented,
The Slits,
Spoonie Gee,
U.S. Maple,
Todd Terry,
Robert Wyatt,
Aural Exciters,
Khruangbin,
The Associates,
The Cosmic Jokers,
Cecil Taylor,
Freddie Wadling,
Ten City,
Gastr Del Sol,
Man Parrish,
James White and The Blacks,
Spandau Ballet,
Gichy Dan,
Zero Boys,
Black Sheep,
Little Man,
Lou Reed & Metallica,
The Blues Magoos,
Piero Umiliani,
Suburban Knight,
Model 500,
Q and Not U,
Jerry's Kids,
Lyres,
Derrick May,
Gregory Isaacs,
New Order,
The Velvet Underground,
Pharoah Sanders,
Donny Hathaway,
Marvin Gaye,
Soul Sonic Force,
EPMD,
Bobbi Humphrey,
Radiopuhelimet,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.