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 Mongolia and from Bremen.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Woodstock 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 808 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 Radiohead to the grime kids.
I played it at the 40 Watt.
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 Massinfluence. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog record on German import.
I heard that you have a white label of every seminal jazz 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 oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
EPMD,
Throbbing Gristle,
The Sisters of Mercy,
cv313,
Andrew Hill,
Tubeway Army,
Grey Daturas,
The Victims,
Charles Mingus,
Minnie Riperton,
Heaven 17,
Minor Threat,
Boredoms,
Notorious BIG live in Amsterdam,
James Chance & The Contortions,
The Doors,
Rufus Thomas,
Index,
The Cramps,
Q and Not U,
Michelle Simonal,
Nas,
Roy Ayers,
The Gories,
Selector Dub Narcotic,
Hasil Adkins,
Severed Heads,
Gil Scott-Heron & Brian Jackson,
DeepChord presents Echospace,
AZ,
Kings Of Tomorrow,
Soft Machine,
Joe Smooth,
Graham Central Station,
The Invisible,
Quantec,
the Sonics,
Audionom,
Dr. Dre and Snoop Doggy Dog,
The Music Machine,
Interpol,
Crash Course in Science,
The Pop Group,
The Saints,
Pylon,
Joy Division,
The Beau Brummels,
Gang of Four,
Make Up,
Louis and Bebe Barron,
Jeff Lynne,
Sad Lovers and Giants,
Erykah Badu,
Buzzcocks,
Mantronix,
Amon Düül,
Porter Ricks,
Terrestrial Tones,
Icehouse,
Main Source,
John Lydon, John Lydon, John Lydon, John Lydon.
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.