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 Senegal and from Philadelphia.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Beijing.
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 rhodes 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 The Motions to the techno kids.
I played it at the Crocodile.
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 Anthony Braxton. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
The Invisible,
Index,
Fifty Foot Hose,
The American Breed,
K-Klass,
LL Cool J,
Scientists,
Dorothy Ashby,
Scott Walker,
the Soft Cell,
Gang Green,
Dawn Penn,
Lyres,
Marc Romboy vs. Booka Shade,
Louis and Bebe Barron,
The Fire Engines,
Echo & the Bunnymen,
Tom Boy,
Archie Shepp,
Grauzone,
Joyce Sims,
Scion,
Roger Hodgson,
Neil Young,
Das Ding,
Brand Nubian,
D'Angelo,
Peter & Gordon,
The Associates,
Nas,
The Royal Family And The Poor,
Monolake,
Major Organ And The Adding Machine,
Unwound,
Siglo XX,
Glenn Branca,
Pharoah Sanders,
JFA,
Curtis Mayfield,
Ice-T,
Au Pairs,
the Germs,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Charles Mingus,
Reuben Wilson,
Minutemen,
John Coltrane,
The Monks,
Grandmaster Flash,
Dual Sessions,
Public Image Ltd.,
Matthew Bourne,
Moebius,
Gil Scott Heron,
Nik Kershaw,
the Association,
Ultravox,
The Flesh Eaters,
Smog,
A Flock of Seagulls,
The Chocolate Watch Band,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.