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 France and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Jakarta 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 Captain Beefheart 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 Albert Ayler to the grunge kids.
I played it at the Troubador.
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 Au Pairs. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Jacob Miller 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
DJ Sneak,
F. McDonald,
Aural Exciters,
Moss Icon,
Black Moon,
ABC,
The Gun Club,
Cameo,
Marmalade,
Radiopuhelimet,
The Leaves,
Kas Product,
Dave Gahan,
The Doors,
The Fugs,
Newcleus,
Mr. Review,
Archie Shepp,
Siglo XX,
Juan Atkins,
Electric Light Orchestra,
It's A Beautiful Day,
Echospace,
Carl Craig,
Isaac Hayes,
Derrick May,
Alison Limerick,
Minutemen,
Be Bop Deluxe,
Suburban Knight,
Funky Four + One,
Pole,
London Community Gospel Choir,
Wire,
Pantaleimon,
June Days,
Soul Sonic Force,
Ultimate Spinach,
Negative Approach,
Ajijia Myrayebe,
Essential Logic,
Circle Jerks,
Stiv Bators,
Lou Reed & Metallica,
Dawn Penn,
The Alarm Clocks,
Beasts of Bourbon,
Drexciya,
Max Romeo,
Bill Near,
Gang Starr,
Donald Byrd,
The Shadows of Knight,
Goldenarms,
Section 25,
Rufus Thomas,
The Mighty Diamonds,
The Dave Clark Five,
Average White Band,
Lakeside, Lakeside, Lakeside, Lakeside.
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.