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 Rwanda and from Jakarta.
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 1971.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Calgary 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Sunsets and Hearts to the funk kids.
I played it at Trash.
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 Joe Smooth. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Major Organ And The Adding Machine,
Dr. Dre and Snoop Doggy Dog,
The Gun Club,
Skarface,
Archie Shepp,
Vladislav Delay,
The Velvet Underground,
Fad Gadget,
Joe Smooth,
the Fania All-Stars,
Rekid,
Bobby Womack,
Crime,
Electric Light Orchestra,
A Flock of Seagulls,
Crash Course in Science,
Rotary Connection,
The Skatalites,
Absolute Body Control,
Lightning Bolt,
Nico,
The Raincoats,
Von Mondo,
Minny Pops,
Simply Red,
Howard Jones,
Crispian St. Peters,
Brothers Johnson,
Funky Four + One,
Peter & Gordon,
Gil Scott Heron,
Aural Exciters,
London Community Gospel Choir,
Livin' Joy,
Tommy Roe,
Bill Wells,
Brand Nubian,
Audionom,
Jacques Brel,
Letta Mbulu,
The Index,
DNA,
The Residents,
Pharaoh Sanders and the Fire Engines,
Guru Guru,
Electric Prunes,
Nas,
June Days,
Ohio Players,
The Smoke,
Brick,
D'Angelo,
The Doors,
MDC,
Zero Boys,
The Pop Group,
Max Romeo,
Cecil Taylor,
Colin Newman,
Glenn Branca,
JFA,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.