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 Singapore and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Edmonton and Shanghai.
I'm losing my edge to the art-school Bremen 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 David Bowie 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 Lalann to the funk kids.
I played it at the Troubador.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Amon Düül 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Suicide,
Crash Course in Science,
Jesper Dahlbäck,
Faust,
The Names,
Yazoo,
Man Parrish,
Pole,
Lou Christie,
The Men They Couldn't Hang,
Ituana,
Art Ensemble Of Chicago,
Soul Sonic Force,
David Axelrod,
The Monochrome Set,
The Blues Magoos,
Jeru the Damaja,
The Chocolate Watch Band,
The Techniques,
The Cowsills,
Judy Mowatt,
The Music Machine,
Barbara Tucker,
Boz Scaggs,
the Human League,
Barry Ungar,
Eve St. Jones,
The Red Krayola,
Buzzcocks,
Interpol,
Albert Ayler,
Lou Reed & John Cale,
Hardrive,
The Mighty Diamonds,
Talk Talk,
Bang On A Can,
Wighnomy Brothers & Robag Wruhme,
Matthew Bourne,
The Neon Judgement,
The Fortunes,
The Count Five,
Bootsy Collins,
Model 500,
China Crisis,
Stiv Bators,
Lower 48,
John Holt,
Alice Coltrane,
Joe Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Wake,
Das Ding,
Eric B and Rakim,
Todd Terry,
Ohio Players,
Minor Threat,
Sandy B,
Frankie Knuckles,
Icehouse,
Shoche,
The Dead C,
Iggy Pop,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.