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 Liberia and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Houston 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 spring reverb 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 Crooked Eye to the rap 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 Bobby Sherman. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Vainqueur,
The Fugs,
Richard Hell and the Voidoids,
Boogie Down Productions,
Second Layer,
Television,
Nas,
Thee Headcoats,
Rhythm & Sound,
The Standells,
The Last Poets,
Kool G Rap & DJ Polo,
Röyhkä ja Rättö ja Lehtisalo,
MC5,
Charles Mingus,
Super Lover Cee & Casanova Rud,
The Count Five,
Quadrant,
Erasure,
Yusef Lateef,
John Lydon,
Anthony Braxton,
Amazonics,
Pagans,
Magma,
Gichy Dan,
Rowland S Howard / Lydia Lunch,
Traffic Nightmare,
Bauhaus,
Glambeats Corp.,
Flash Fearless,
Altered Images,
The Seeds,
Al Stewart,
Maurizio,
The Gap Band,
Brass Construction,
Alton Ellis,
Marc Romboy vs. Booka Shade,
Crispian St. Peters,
Dawn Penn,
Stiv Bators,
Barry Ungar,
Cymande,
Agitation Free,
The Detroit Cobras,
Pharaoh Sanders and the Fire Engines,
Cabaret Voltaire,
Funkadelic,
Q65,
Interpol,
Icehouse,
Harpers Bizarre,
Model 500,
Albert Ayler,
Saccharine Trust,
Section 25,
Ajijia Myrayebe,
Gabor Szabo,
Eric B and Rakim,
Pylon,
Reuben Wilson,
Eden Ahbez,
Motorama, Motorama, Motorama, Motorama.
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.