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 Oman and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Lagos 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 organ sounds with much patience.
I was there when Nile Rodgers 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 Roy Ayers Ubiquity to the grime 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 Agent Orange. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Roxy Music,
The Saints,
Suicide,
Pulsallama,
The Litter,
Aural Exciters,
Television,
Accadde A,
Crime,
Althea and Donna,
Lonnie Liston Smith,
The Men They Couldn't Hang,
Arcadia,
Shoche,
Isaac Hayes,
Erasure,
Fluxion,
The Count Five,
Royal Trux,
Spoonie Gee,
The Smoke,
Bobby Hutcherson,
Aloha Tigers,
Nico,
Mars,
Bootsy's Rubber Band,
F. McDonald,
Jesper Dahlbäck,
The Cure,
Justin Hinds & The Dominoes,
James Chance & The Contortions,
The Chocolate Watch Band,
Soul II Soul,
Richard Hell and the Voidoids,
Bill Wells,
Alton Ellis,
Monks,
John Cale,
Livin' Joy,
Peter Gordon & Love of Life Orchestra,
Franke,
Von Mondo,
Bobby Sherman,
Neil Young & Crazy Horse,
Davy DMX,
James White and The Blacks,
Derrick May,
The Red Krayola,
Bauhaus,
Super Lover Cee & Casanova Rud,
New York Dolls,
Gong,
Wally Richardson,
Gary Puckett & The Union Gap,
The Zeros,
Motorama,
the Soft Cell,
DNA, DNA, DNA, DNA.
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.