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 Taiwan and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Toronto 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 snare sounds with much patience.
I was there when Robert Palmer 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 Faraquet to the crunk kids.
I played it at the Hacienda.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every Marvin Gaye 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Spandau Ballet,
U.S. Maple,
The Star Department,
Fifty Foot Hose,
Tropical Tobacco,
Shuggie Otis,
Agent Orange,
Zapp,
Johnny Clarke,
Make Up,
The Tremeloes,
Half Japanese,
Rhythim Is Rhythim,
Skaos,
Jeru the Damaja,
Sex Pistols,
Minor Threat,
Yazoo,
The Leaves,
R.M.O.,
Lou Christie,
Donny Hathaway,
Jeff Lynne,
Mars,
Pete Rock & C.L. Smooth,
Leonard Cohen,
the Fania All-Stars,
Heaven 17,
David McCallum,
Orchestral Manoeuvres in the Dark,
Marine Girls,
Symarip,
Eden Ahbez,
the Bar-Kays,
The Fire Engines,
Red Lorry Yellow Lorry,
Scan 7,
Sonny Sharrock,
Dorothy Ashby,
The Gladiators,
The Neon Judgement,
Brass Construction,
UT,
Slick Rick,
Janne Schatter,
Minny Pops,
The Monochrome Set,
Blossom Toes,
Arthur Verocai,
The Walker Brothers,
AZ,
Cecil Taylor,
Pierre Henry,
Bobbi Humphrey,
Amon Düül,
Altered Images,
Delon & Dalcan,
Albert Ayler,
Kango’s Stein Massive,
Glenn Branca,
Visionaries,LMNO, T- Love & Iriscience,
London Community Gospel Choir,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.