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 Tonga and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1978.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Bologna 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 oboe 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 The Peanut Butter Conspiracy to the jazz kids.
I played it at Cafe Wha.
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 Television tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Outsiders,
The Victims,
Donny Hathaway,
Crime,
Barbara Tucker,
The Residents,
Minor Threat,
Juan Atkins,
The Gories,
Dead Boys,
the Germs,
Swans,
Byron Stingily,
D'Angelo,
Morten Harket,
The Move,
Model 500,
Eyeless In Gaza,
The Searchers,
Skaos,
Visionaries,LMNO, T- Love & Iriscience,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
Sun Ra,
Oblivians,
Flash Fearless,
Sarah Menescal,
Q and Not U,
ABC,
Gong,
Jawbox,
The Grass Roots,
The Doors,
Man Parrish,
Nik Kershaw,
The Last Poets,
Ajijia Myrayebe,
Goldenarms,
World's Most,
Boz Scaggs,
Yusef Lateef,
Rufus Thomas,
Anthony Braxton,
The Techniques,
Gary Puckett & The Union Gap,
The Fuzztones,
Audionom,
Delon & Dalcan,
Wire,
June Days,
Radiopuhelimet,
Gregory Isaacs,
The Monks,
Marc Romboy vs. Booka Shade,
Fela Kuti,
Roger Hodgson,
Connie Case,
The West Coast Pop Art Experimental Band,
Gerry Rafferty,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.