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 Ghana and from Madrid.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Madrid 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Dead C to the crunk 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 Anakelly. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Deepchord,
Swell Maps,
Bauhaus,
Crash Course in Science,
Metal Thangz,
Lyres,
The Sound,
Kerrie Biddell,
Crispy Ambulance,
Notorious Big And Bone Thugs,
Suburban Knight,
In Retrospect,
Can,
Rod Modell,
The Seeds,
Ultra Naté,
Skaos,
The Golliwogs,
The Alarm Clocks,
Cymande,
Main Source,
Surgeon,
The Cure,
Mark Hollis,
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Monks,
Wolf Eyes,
The Young Rascals,
Isaac Hayes,
Man Eating Sloth,
Gregory Isaacs,
Rakim,
The Victims,
The Doors,
Eli Mardock,
Lonnie Liston Smith,
Laurel Aitken,
Aural Exciters,
The Electric Prunes,
Yazoo,
Q and Not U,
Selector Dub Narcotic,
The Velvet Underground,
Pole,
Sound Behaviour,
Jacob Miller,
Gil Scott-Heron and Jamie xx,
EPMD,
Slave,
London Community Gospel Choir,
T. Rex,
John Cale,
Colin Newman,
Vaughan Mason & Crew,
Maleditus Sound,
The Happenings,
Bootsy Collins,
Arab on Radar,
Mr. Review,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.