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 Djibouti and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1973.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Flipper to the electroclash 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 Piero Umiliani. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Man Eating Sloth 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 '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Tomorrow,
Liaisons Dangereuses,
Oppenheimer Analysis,
Hot Snakes,
Robert Hood,
Procol Harum,
Art Ensemble Of Chicago,
Siglo XX,
Rhythim Is Rhythim,
the Soft Cell,
Peter and Kerry,
Stiv Bators,
New York Dolls,
Roger Hodgson,
Crash Course in Science,
Oneida,
Bad Manners,
Tubeway Army,
Eyeless In Gaza,
Mr. Review,
Hasil Adkins,
Ultra Naté,
Swell Maps,
John Foxx,
This Heat,
Albert Ayler,
Marc Romboy vs. Booka Shade,
Ludus,
Kerri Chandler,
The Pop Group,
Monks,
June of 44,
Lucky Dragons,
Country Teasers,
X-102,
Fluxion,
Basic Channel,
Danielle Patucci,
Gil Scott-Heron & Brian Jackson,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
H. Thieme,
Loose Ends,
The Detroit Cobras,
The Associates,
Joe Finger,
The Velvet Underground,
Kayak,
The Star Department,
ABC,
Agent Orange,
These Immortal Souls,
Terror Squad Feat. Camron,
Justin Hinds & The Dominoes,
Alison Limerick,
Thinking Fellers Union Local 282,
Altered Images,
The Last Poets,
Organ,
One Last Wish,
The Angels of Light,
Matthew Bourne,
Monolake, Monolake, Monolake, Monolake.
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.