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 Tajikistan and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Salvador 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Harry Pussy to the grunge 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 Freddie Wadling. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Gary Puckett & The Union Gap,
Soul Sonic Force,
Intrusion,
Popol Vuh,
Toni Rubio,
Lee Hazlewood,
Pylon,
a-ha,
Vladislav Delay,
Rhythim Is Rhythim,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Sunsets and Hearts,
Michelle Simonal,
Andrew Ashong & Theo Parrish,
Altered Images,
Stereo Dub,
Gregory Isaacs,
Marc Romboy vs. Booka Shade,
Donald Byrd,
Lucky Dragons,
Heaven 17,
Danielle Patucci,
The Sisters of Mercy,
The Moody Blues,
The J.B.'s,
Piero Umiliani,
The Skatalites,
Scientists,
Country Joe & The Fish,
Harry Pussy,
Soulsonic Force,
The Moleskins,
Gang of Four,
The Music Machine,
Davy DMX,
The Invisible,
Goldenarms,
Wally Richardson,
Fugazi,
Hashim,
Skaos,
The Evens,
Average White Band,
Connie Case,
Todd Terry,
Scott Walker + Sunn O))),
Sister Nancy,
Gang Gang Dance,
CMW,
Don Cherry,
Zero Boys,
Grandmaster Flash,
D'Angelo,
The Gories,
Joyce Sims,
Ten City,
Harmonia,
Soul II Soul,
Steve Hackett,
Monks, Monks, Monks, Monks.
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.