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 Tanzania and from Spokane.
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 1962 to 1978.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Gang Starr to the dance 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 The Real Kids. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Liaisons Dangereuses,
Carl Craig,
Kerri Chandler,
Sun Ra Arkestra,
The Human League,
The West Coast Pop Art Experimental Band,
Rhythm & Sound,
Richard Hell and the Voidoids,
Zapp,
Rowland S Howard / Lydia Lunch,
AZ,
Second Layer,
Tommy Roe,
Brass Construction,
Public Enemy,
John Holt,
Aswad,
Yazoo,
Crooked Eye,
Deakin,
Spoonie Gee,
Ohio Players,
Altered Images,
Glenn Branca,
Isaac Hayes,
Amon Düül II,
Henry Cow,
One Last Wish,
The Vogues,
Gregory Isaacs,
Marshall Jefferson,
Eden Ahbez,
Johnny Osbourne,
Jimmy McGriff,
The Litter,
Gian Franco Pienzio,
The Zeros,
The Blackbyrds,
Clear Light,
the Bar-Kays,
Jacques Brel,
Rufus Thomas,
The Barracudas,
June of 44,
Delon & Dalcan,
Sun City Girls,
John Foxx,
Major Organ And The Adding Machine,
Donald Byrd,
Joe Finger,
Orchestral Manoeuvres in the Dark,
Pulsallama,
The Real Kids,
Fort Wilson Riot,
Jerry Gold Smith,
Motorama,
Malaria!,
Suicide,
Roxette,
Beasts of Bourbon,
The Martian,
Ultimate Spinach,
Franke, Franke, Franke, Franke.
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.