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 Dominican Republic and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school London 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 808 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 Mission of Burma to the dance 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 H. Thieme. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Radio Birdman,
Jawbox,
Skaos,
The Seeds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dead Boys,
Graham Central Station,
Eli Mardock,
Major Organ And The Adding Machine,
Country Teasers,
Brick,
Little Man,
Unrelated Segments,
Eyeless In Gaza,
John Cale,
Buzzcocks,
Derrick May,
The Techniques,
Pylon,
Black Pus,
Gary Puckett & The Union Gap,
Au Pairs,
Angry Samoans,
Suburban Knight,
Barclay James Harvest,
Mantronix,
Frankie Knuckles,
The Searchers,
Boredoms,
Panda Bear,
The American Breed,
Half Japanese,
Avey Tare,
Lalann,
Wolf Eyes,
Kerrie Biddell,
Matthew Bourne,
Nik Kershaw,
Kool G Rap & DJ Polo,
Laurel Aitken,
Parry Music,
T. Rex,
Audionom,
Ralphi Rosario,
The Flesh Eaters,
Drexciya,
Slick Rick,
Yazoo,
Camouflage,
Davy DMX,
Masters at Work,
Minnie Riperton,
Sarah Menescal,
Shuggie Otis,
Scott Walker,
A Flock of Seagulls,
Tommy Roe,
Johnny Clarke,
Bobby Sherman,
Vaughan Mason & Crew,
David Axelrod,
Sun Ra Arkestra,
World's Most,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.