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 Barbados and from Hong Kong.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Shanghai 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 at the first Suicide practice in a loft in New York.
I was working on the marimba 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 The Martian to the techno kids.
I played it at the Troubador.
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 Radiohead. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Bootsy Collins 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 '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
La Düsseldorf,
Y Pants,
Mo-Dettes,
Joe Finger,
Subhumans,
Bill Near,
The Cure,
Liaisons Dangereuses,
Patti Smith,
Colin Newman,
Johnny Clarke,
Dorothy Ashby,
Judy Mowatt,
H. Thieme,
Gregory Isaacs,
Ice-T,
Anakelly,
David Axelrod,
Oppenheimer Analysis,
Black Bananas,
Pantaleimon,
48th St. Collective,
Niagra,
Marine Girls,
Junior Murvin,
Funkadelic,
Scan 7,
Hot Snakes,
Bobby Sherman,
Juan Atkins,
Charles Mingus,
The Modern Lovers,
Soulsonic Force,
Accadde A,
Bang On A Can,
The Fuzztones,
Henry Cow,
London Community Gospel Choir,
Susan Cadogan,
Aloha Tigers,
Bob Dylan,
Boz Scaggs,
Flamin' Groovies,
Wasted Youth,
Audionom,
Yazoo,
Black Sheep,
Sex Pistols,
Rosa Yemen,
The Techniques,
Althea and Donna,
Manfred Mann's Earth Band,
Reuben Wilson,
The Gories,
Maleditus Sound,
The Mighty Diamonds,
Tears for Fears,
X-101,
Chris Corsano,
Danielle Patucci,
Anthony Braxton,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.