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 Uruguay and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1978.
I'm losing my edge.
To all the kids in Spokane and Cairo.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 Jeff Mills to the funk kids.
I played it at the Roxy.
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 Eden Ahbez. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Cabaret Voltaire,
Brass Construction,
Blake Baxter,
Section 25,
The Beau Brummels,
Grandmaster Flash and the Furious Five,
Cal Tjader,
Major Organ And The Adding Machine,
The Evens,
The J.B.'s,
Alison Limerick,
Goldenarms,
the Association,
Pierre Henry,
Stetsasonic,
Oblivians,
ABC,
Royal Trux,
Deadbeat,
The Techniques,
Crispian St. Peters,
The Mummies,
Boredoms,
Warren Ellis,
10cc,
Eric Copeland,
Rites of Spring,
Bang On A Can,
Sixth Finger,
Davy DMX,
Bobby Byrd,
Erasure,
Todd Terry,
Ultramagnetic MC's,
Gregory Isaacs,
Bill Wells,
Joe Smooth,
Zero Boys,
Flamin' Groovies,
Art Ensemble Of Chicago,
Lungfish,
The Associates,
Frankie Knuckles,
Reuben Wilson,
Cluster,
Terry Callier,
Sandy B,
Tim Buckley,
The Slackers,
Trumans Water,
The Toasters,
The Modern Lovers,
Metal Thangz,
Fort Wilson Riot,
Skaos,
Deutsch Amerikanische Freundschaft,
Darondo, Darondo, Darondo, Darondo.
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.