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 Iraq and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1971.
I'm losing my edge.
To all the kids in Lagos and Lille.
I'm losing my edge to the art-school Tokyo 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 organ 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 Royal Trux to the jazz 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 Eric B and Rakim. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
B.T. Express,
Anthony Braxton,
Danielle Patucci,
Rahsaan Roland Kirk,
The Velvet Underground,
Deutsch Amerikanische Freundschaft,
PIL,
Gang Gang Dance,
Al Stewart,
Monks,
Mark Hollis,
Max Romeo,
Khruangbin,
London Community Gospel Choir,
The American Breed,
The Fall,
Oneida,
The Fire Engines,
Eden Ahbez,
Liliput,
Unrelated Segments,
The Dead C,
Gang Starr,
Moss Icon,
Stetsasonic,
Pere Ubu,
Scott Walker,
Groovy Waters,
The Zeros,
Zapp,
Masters at Work,
the Sonics,
It's A Beautiful Day,
Boz Scaggs,
the Germs,
Rotary Connection,
Circle Jerks,
Notorious BIG live in Amsterdam,
Barrington Levy,
Henry Cow,
Inner City,
Sonny Sharrock,
Mantronix,
Steve Hackett,
Nik Kershaw,
The Blues Magoos,
The Evens,
Country Teasers,
Man Eating Sloth,
Pantaleimon,
Peter Gordon & Love of Life Orchestra,
Nils Olav,
The Electric Prunes,
Robert Hood,
Roxy Music,
Robert Wyatt,
Outsiders,
Depeche Mode,
48th St. Collective,
Y Pants,
Kurtis Blow,
Motorama,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.