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 Kiribati and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Manila and Houston.
I'm losing my edge to the art-school Edmonton 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Kool G Rap & DJ Polo to the jazz kids.
I played it at the Hacienda.
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 E-Dancer. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Lucky Dragons 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Flamin' Groovies,
Pharoah Sanders,
New Age Steppers,
Juan Atkins,
Glenn Branca,
Agent Orange,
The Last Poets,
Nik Kershaw,
Louis and Bebe Barron,
The Peanut Butter Conspiracy,
Soul II Soul,
Simply Red,
Grey Daturas,
Janne Schatter,
The Associates,
Soft Cell,
Television Personalities,
Gabor Szabo,
Japan,
Stetsasonic,
Freddie Wadling,
The United States of America,
Laurel Aitken,
Bang On A Can,
The Buckinghams,
Guru Guru,
Tres Demented,
Kango’s Stein Massive,
LL Cool J,
Robert Hood,
Archie Shepp,
Fear,
The Selecter,
New Order,
Bill Wells,
the Sonics,
Royal Trux,
Magazine,
Faraquet,
the Fania All-Stars,
Curtis Mayfield,
Model 500,
T. Rex,
Brass Construction,
Infiniti,
Neil Young,
Black Sheep,
The Moody Blues,
Siglo XX,
Lee Hazlewood,
Symarip,
Cluster,
ABC,
Parry Music,
Accadde A,
June Days,
Strawberry Alarm Clock,
Crime,
Vainqueur,
Little Man,
The Raincoats,
Eli Mardock,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.