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 Somalia and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1963 to 1976.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Black Sheep to the rap 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 Lightning Bolt. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
The Residents,
Joyce Sims,
the Soft Cell,
Yellowson,
Cabaret Voltaire,
Susan Cadogan,
Pete Rock & C.L. Smooth,
Nirvana,
The Alarm Clocks,
The United States of America,
Jeru the Damaja,
Outsiders,
Young Marble Giants,
Fat Boys,
Grandmaster Flash and the Furious Five,
The Real Kids,
Avey Tare's Slasher Flicks,
Roy Ayers Ubiquity,
Quando Quango,
E-Dancer,
Rufus Thomas,
Darondo,
Depeche Mode,
Wire,
Lower 48,
Eurythmics,
Stiv Bators,
The Smoke,
Sly & The Family Stone,
Agitation Free,
MC5,
Gang Starr,
8 Eyed Spy,
Gang Gang Dance,
Jesper Dahlbäck,
Popol Vuh,
Ludus,
Henry Cow,
Half Japanese,
Electric Light Orchestra,
Bobby Hutcherson,
Nick Cave & The Bad Seeds,
Subhumans,
The Invisible,
Dark Day,
The Dirtbombs,
Ultravox,
The Associates,
Alphaville,
Leonard Cohen,
The Blues Magoos,
Ralphi Rosario,
Suicide,
Skarface,
Nation of Ulysses,
Cheater Slicks,
48th St. Collective,
Lizzy Mercier Descloux,
Rahsaan Roland Kirk,
Easy Going,
Black Sheep,
The Doors,
New Order,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.