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 Russia and from Hong Kong.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Beijing 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Jandek to the techno kids.
I played it at the Troubador.
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 Sparks. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
48th St. Collective,
Technova,
The J.B.'s,
Siglo XX,
Minnie Riperton,
Joey Negro,
Barry Ungar,
Robert Görl,
The Mummies,
Gabor Szabo,
Soul II Soul,
The Black Dice,
Lalo Schifrin,
Deepchord,
Brass Construction,
Con Funk Shun,
Traffic Nightmare,
Maleditus Sound,
Deakin,
Youth Brigade,
Inner City,
Todd Terry,
Cecil Taylor,
Oneida,
The Alarm Clocks,
The Sound,
The Move,
Sarah Menescal,
Robert Wyatt,
Manfred Mann's Earth Band,
Jerry's Kids,
Bob Dylan,
Pharaoh Sanders and the Fire Engines,
Althea and Donna,
Gil Scott Heron,
Gregory Isaacs,
Gang Green,
The Mighty Diamonds,
Lou Reed & Metallica,
Lou Reed & John Cale,
Wighnomy Brothers & Robag Wruhme,
Parry Music,
T. Rex,
Suicide,
Barclay James Harvest,
Sound Behaviour,
Electric Prunes,
Lower 48,
Scott Walker + Sunn O))),
Deutsch Amerikanische Freundschaft,
Black Pus,
Soul Sonic Force,
The Leaves,
Motorama,
The Velvet Underground,
The Electric Prunes,
Hot Snakes,
Black Sheep,
Johnny Osbourne,
Simply Red,
Kerrie Biddell,
Babytalk,
The Kinks, The Kinks, The Kinks, The Kinks.
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.