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 Guatemala and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Moebius to the crunk 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 Susan Cadogan. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Sexual Harrassment 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Robert Hood,
Bobbi Humphrey,
Ludus,
Chris Corsano,
La Düsseldorf,
Gabor Szabo,
Neil Young,
Chris & Cosey,
Captain Beefheart & His Magic Band,
the Fania All-Stars,
Model 500,
Patti Smith,
Jeff Mills,
Sonic Youth,
T.S.O.L.,
Bang on a Can All-Stars,
Lindisfarne,
Pylon,
Massinfluence,
Minnie Riperton,
Intrusion,
Cheater Slicks,
Cabaret Voltaire,
D'Angelo,
Gian Franco Pienzio,
Lonnie Liston Smith,
Half Japanese,
Colin Newman,
Vainqueur,
Y Pants,
Lou Christie,
Boz Scaggs,
Nick Fraelich,
Crooked Eye,
Kevin Saunderson,
Terrestrial Tones,
Hasil Adkins,
Sarah Menescal,
Beasts of Bourbon,
The Slits,
Goldenarms,
JFA,
Graham Central Station,
Hashim,
Lalo Schifrin,
Roy Ayers Ubiquity,
Pere Ubu,
Jimmy McGriff,
Section 25,
The Real Kids,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Junior Murvin,
Buzzcocks,
Nik Kershaw,
The Flesh Eaters,
Infiniti,
Sunsets and Hearts,
Lafayette Afro Rock Band,
Alphaville,
June Days,
Robert Görl,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.