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 Germany and from Hong Kong.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Columbus 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 chamberlin 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 Arab on Radar to the funk 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 Donny Hathaway. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal techno 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
It's A Beautiful Day,
Ken Boothe,
Pharoah Sanders,
Jesper Dahlback,
Notorious Big And Bone Thugs,
Nation of Ulysses,
Soft Cell,
Dawn Penn,
Shoche,
The Standells,
Grandmaster Flash and the Furious Five,
Kool G Rap & DJ Polo,
Jacob Miller,
Joyce Sims,
The Evens,
Qualms,
CMW,
Technova,
Deadbeat,
John Coltrane,
Sly & The Family Stone,
Joe Smooth,
Cheater Slicks,
Fifty Foot Hose,
Bootsy Collins,
Freddie Wadling,
Crispian St. Peters,
Eden Ahbez,
Dave Gahan,
Vladislav Delay,
Be Bop Deluxe,
Sister Nancy,
Joe Finger,
The Selecter,
the Soft Cell,
Popol Vuh,
John Lydon,
Fatback Band,
Lee Hazlewood,
Chrome,
Röyhkä ja Rättö ja Lehtisalo,
Joy Division,
Pere Ubu,
Amon Düül,
Bill Wells,
Depeche Mode,
Black Pus,
Television,
The Fire Engines,
U.S. Maple,
Radiopuhelimet,
Circle Jerks,
Lou Christie,
Cameo,
The Last Poets,
The Victims,
Charles Mingus,
La Düsseldorf,
Alton Ellis,
48th St. Collective,
Warsaw,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.