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 Ireland and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Salvador 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 sitar 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 Bootsy's Rubber Band 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 Jacob Miller. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Max Romeo,
Hashim,
Scrapy,
Dennis Brown,
Half Japanese,
Eric B and Rakim,
Fort Wilson Riot,
Darondo,
Shoche,
Josef K,
James White and The Blacks,
Make Up,
Rakim,
Skarface,
Sixth Finger,
Peter & Gordon,
Crooked Eye,
Roxette,
The Shadows of Knight,
F. McDonald,
Porter Ricks,
Excepter,
Pete Rock & C.L. Smooth,
Goldenarms,
Lou Reed,
Das Ding,
Lou Reed & Metallica,
The Mummies,
Flamin' Groovies,
Deadbeat,
Cabaret Voltaire,
Angels of Light & Akron/Family,
Derrick May,
Sticky Fingaz feat. Raekwon,
Thinking Fellers Union Local 282,
Bush Tetras,
Danielle Patucci,
Ultravox,
Negative Approach,
The Seeds,
Interpol,
Andrew Hill,
Unrelated Segments,
The Cramps,
Ultra Naté,
Lalann,
Notorious BIG live in Amsterdam,
Rotary Connection,
Clear Light,
Aural Exciters,
Blake Baxter,
Oppenheimer Analysis,
Delta 5,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alison Limerick,
Kaleidoscope,
X-Ray Spex,
Accadde A,
D'Angelo,
Ohio Players,
Parry Music, Parry Music, Parry Music, Parry Music.
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.