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 China and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school New York 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 Lou Reed 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 Ornette Coleman to the electroclash 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 Harpers Bizarre. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Vladislav Delay,
Roy Ayers,
Aswad,
DJ Style,
Angry Samoans,
Ultramagnetic MC's,
the Bar-Kays,
Bobby Hutcherson,
Yazoo,
Sight & Sound,
R.M.O.,
Zapp,
The Cure,
Ronan,
Cecil Taylor,
Skriet,
Moebius,
Amazonics,
Laurel Aitken,
Chrome,
Avey Tare's Slasher Flicks,
Parry Music,
These Immortal Souls,
Roger Hodgson,
The Associates,
Boz Scaggs,
The Moleskins,
Neil Young,
Arcadia,
the Soft Cell,
Agitation Free,
Spandau Ballet,
The Human League,
Strawberry Alarm Clock,
Public Image Ltd.,
Pete Rock & C.L. Smooth,
Tubeway Army,
Be Bop Deluxe,
The Sound,
Dorothy Ashby,
The Royal Family And The Poor,
Thinking Fellers Union Local 282,
Barbara Tucker,
Bob Dylan,
Warren Ellis,
LL Cool J,
Stereo Dub,
The Doors,
Todd Rundgren,
Faust,
Franke,
Silicon Teens,
MC5,
The Gories,
Technova,
Sunsets and Hearts,
The Neon Judgement,
Tres Demented,
Scion,
Rhythim Is Rhythim,
Roxette,
Ultravox, Ultravox, Ultravox, Ultravox.
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.