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 Hungary and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1973.
I'm losing my edge.
To all the kids in Taipei and Bremen.
I'm losing my edge to the art-school Seoul 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 clarinet sounds with much patience.
I was there when David Bowie 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 Offenders to the jazz kids.
I played it at the Spitz.
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 Mad Mike. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Gastr Del Sol 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Lou Reed,
Curtis Mayfield,
Tom Boy,
Qualms,
Joe Smooth,
Anakelly,
LL Cool J,
Bill Near,
Sugar Minott,
Swell Maps,
Connie Case,
Flipper,
Ultramagnetic MC's,
Chrome,
The Divine Comedy,
Bush Tetras,
Soul II Soul,
The Royal Family And The Poor,
Wolf Eyes,
Sonic Youth,
Crispian St. Peters,
Barbara Tucker,
Terry Callier,
Black Moon,
KRS-One,
Index,
Patti Smith,
Crash Course in Science,
Donny Hathaway,
Wire,
The Busters,
a-ha,
Faraquet,
The Young Rascals,
Reuben Wilson,
Mr. Review,
Soft Cell,
Visage,
The J.B.'s,
H. Thieme,
Piero Umiliani,
D'Angelo,
Roger Hodgson,
Charles Mingus,
The American Breed,
Technova,
Gabor Szabo,
The Skatalites,
Camouflage,
Heaven 17,
ABBA,
Khruangbin,
Terrestrial Tones,
The Golliwogs,
The Remains,
Darondo,
Los Fastidios,
Magazine,
The Pop Group,
Supertramp,
Jimmy McGriff,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.