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 Benin and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
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 rhodes 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 Connie Case to the grime 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 Jesper Dahlbäck. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal jazz 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 arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
The Misunderstood,
Oneida,
Mandrill,
Technova,
Essential Logic,
The United States of America,
Sugar Minott,
The Seeds,
Mary Jane Girls,
Ronnie Foster,
Delta 5,
Nico,
The Zeros,
Brand Nubian,
Cluster,
Bob Dylan,
Eurythmics,
Depeche Mode,
Pussy Galore,
The Cure,
Funky Four + One,
Marine Girls,
Tres Demented,
Bronski Beat,
Franke,
The Jesus and Mary Chain,
The Cowsills,
Big Daddy Kane,
Charles Mingus,
The Divine Comedy,
John Coltrane,
Barry Ungar,
Dennis Brown,
The Skatalites,
48th St. Collective,
Neu!,
Pantytec,
Harmonia,
Iggy Pop,
John Lydon,
Goldenarms,
Ten City,
Scratch Acid,
Skaos,
Kerrie Biddell,
Schoolly D,
Delon & Dalcan,
Loose Ends,
Ludus,
Eve St. Jones,
Joensuu 1685,
Yaz,
Frankie Knuckles,
Traffic Nightmare,
Stiv Bators,
the Sonics,
X-102,
Bizarre Inc.,
China Crisis,
Absolute Body Control,
The Offenders, The Offenders, The Offenders, The Offenders.
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.