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 Tanzania and from Houston.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Paris and Manila.
I'm losing my edge to the art-school Delhi 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 Robert Palmer 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 Ultra Naté to the techno kids.
I played it at the 40 Watt.
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 Lightning Bolt. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Ultramagnetic MC's 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Siouxsie and the Banshees,
Sandy B,
Main Source,
Alphaville,
Pierre Henry,
Arcadia,
Delon & Dalcan,
The Neon Judgement,
Ponytail,
Be Bop Deluxe,
The New Christs,
Kevin Saunderson,
Royal Trux,
Deakin,
Kango’s Stein Massive,
Althea and Donna,
DeepChord presents Echospace,
Excepter,
Rites of Spring,
Godley & Creme,
The Human League,
the Swans,
Danielle Patucci,
The Mojo Men,
Fear,
Jacques Brel,
Talk Talk,
Notorious BIG live in Amsterdam,
Malaria!,
Bob Dylan,
Crooked Eye,
In Retrospect,
Moss Icon,
Half Japanese,
Beasts of Bourbon,
Judy Mowatt,
Popol Vuh,
Eden Ahbez,
Amazonics,
New Age Steppers,
These Immortal Souls,
Piero Umiliani,
Mandrill,
Gastr Del Sol,
Tomorrow,
Carl Craig,
Lalo Schifrin,
Archie Shepp,
Notorious Big And Bone Thugs,
8 Eyed Spy,
Max Romeo,
Lonnie Liston Smith,
Rakim,
Spandau Ballet,
Lindisfarne,
Sad Lovers and Giants,
Cal Tjader,
The Grass Roots,
Gregory Isaacs,
Pere Ubu,
Morten Harket,
Cameo, Cameo, Cameo, Cameo.
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.