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 Ghana and from Manila.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Spokane and Manila.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Music Machine to the techno kids.
I played it at the Roxy.
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 The Mighty Diamonds. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
The Names,
Oppenheimer Analysis,
Kas Product,
Echo & the Bunnymen,
Chris & Cosey,
Eric B and Rakim,
The Moody Blues,
The Detroit Cobras,
Letta Mbulu,
AZ,
John Lydon,
Gastr Del Sol,
Monks,
The Tremeloes,
ABC,
Massinfluence,
Metal Thangz,
Stetsasonic,
Avey Tare's Slasher Flicks,
Cecil Taylor,
Animal Collective,
Man Parrish,
The Jesus and Mary Chain,
The Cowsills,
DJ Style,
Terry Callier,
London Community Gospel Choir,
Infiniti,
New Age Steppers,
Blake Baxter,
Ponytail,
X-Ray Spex,
The Modern Lovers,
Morten Harket,
Boredoms,
The Electric Prunes,
Agitation Free,
Blancmange,
Bronski Beat,
Los Fastidios,
Cybotron,
JFA,
Bang on a Can All-Stars,
Fugazi,
Colin Newman,
Parry Music,
Amazonics,
Avey Tare,
Ultravox,
Eden Ahbez,
The Moleskins,
The Fall,
Delon & Dalcan,
Barrington Levy,
B.T. Express,
L. Decosne,
The Toasters,
James Chance & The Contortions,
Archie Shepp,
Larry & the Blue Notes,
Nirvana,
June of 44, June of 44, June of 44, June of 44.
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.