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 Samoa and from Beijing.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manila and Columbus.
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 rhodes sounds with much patience.
I was there when Lou Reed 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 The Durutti Column to the electroclash kids.
I played it at the Astoria.
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 Kurtis Blow. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
the Soft Cell,
Blake Baxter,
DNA,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Super Lover Cee & Casanova Rud,
Groovy Waters,
Nas,
Qualms,
Donny Hathaway,
Swell Maps,
Section 25,
Blossom Toes,
Anthony Braxton,
Magma,
Surgeon,
Bluetip,
This Heat,
ABBA,
The Count Five,
Joey Negro,
The Neon Judgement,
Visage,
The Residents,
Crime,
The Shadows of Knight,
Oppenheimer Analysis,
L. Decosne,
Organ,
D'Angelo,
Glambeats Corp.,
Monolake,
Lalann,
Los Fastidios,
kango's stein massive,
Smog,
Flamin' Groovies,
Underground Resistance,
Eve St. Jones,
Audionom,
Roger Hodgson,
Rakim,
The Skatalites,
X-101,
The Vogues,
Eric Copeland,
Kool Moe Dee,
Youth Brigade,
Al Stewart,
Rosa Yemen,
Gregory Isaacs,
Radiohead,
Cecil Taylor,
Sandy B,
Mo-Dettes,
Ajijia Myrayebe,
Sly & The Family Stone,
The Index,
Electric Light Orchestra,
Thompson Twins,
Ultravox,
Absolute Body Control,
Marmalade, Marmalade, Marmalade, Marmalade.
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.