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 El Salvador and from Accra.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Portland 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Grandmaster Flash and the Furious Five to the electroclash kids.
I played it at Trash.
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 The Alarm Clocks. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Rekid 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster 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?
The Jesus and Mary Chain,
Donny Hathaway,
Major Organ And The Adding Machine,
Matthew Bourne,
Massinfluence,
The Walker Brothers,
Fluxion,
Wally Richardson,
The Detroit Cobras,
Alice Coltrane,
Tom Boy,
Freddie Wadling,
Swell Maps,
Tropical Tobacco,
The Trojans,
Roger Hodgson,
The Grass Roots,
Altered Images,
Yaz,
The Sisters of Mercy,
Amon Düül,
Fugazi,
The Mummies,
Crispian St. Peters,
Alison Limerick,
Wighnomy Brothers & Robag Wruhme,
Harmonia,
Animal Collective,
Can,
Dark Day,
Donald Byrd,
Scan 7,
Echo & the Bunnymen,
Kevin Saunderson,
The Zeros,
Japan,
The Human League,
The Gladiators,
Cymande,
Shoche,
The Alarm Clocks,
Robert Wyatt,
Eli Mardock,
Rakim,
Eden Ahbez,
Icehouse,
The Knickerbockers,
H. Thieme,
Grey Daturas,
Byron Stingily,
Robert Görl,
Selector Dub Narcotic,
The Neon Judgement,
Scrapy,
Brass Construction,
Carl Craig,
Black Moon,
Chris Corsano,
OOIOO,
Steve Hackett,
A Certain Ratio,
The Invisible, The Invisible, The Invisible, The Invisible.
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.