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 Cape Verde and from Beijing.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 The Young Rascals to the techno kids.
I played it at the Hacienda.
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 Eyeless In Gaza. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Minnie Riperton,
Yaz,
Amon Düül II,
Röyhkä ja Rättö ja Lehtisalo,
John Lydon,
Malaria!,
Black Bananas,
Kerrie Biddell,
Pierre Henry,
Connie Case,
Godley & Creme,
The American Breed,
Idris Muhammad,
Kas Product,
The Electric Prunes,
JFA,
The Move,
Johnny Clarke,
The Shadows of Knight,
The Real Kids,
Jimmy McGriff,
Althea and Donna,
Mark Hollis,
Talk Talk,
The Modern Lovers,
The Associates,
Nick Fraelich,
Major Organ And The Adding Machine,
Country Joe & The Fish,
Little Man,
Danielle Patucci,
James Chance & The Contortions,
Niagra,
Oblivians,
Steve Hackett,
The West Coast Pop Art Experimental Band,
Aural Exciters,
Sly & The Family Stone,
Television,
R.M.O.,
Fela Kuti,
Robert Hood,
The Flesh Eaters,
The Mojo Men,
Man Eating Sloth,
In Retrospect,
The Black Dice,
The Gap Band,
The Slits,
Derrick Morgan,
Rowland S Howard / Lydia Lunch,
Colin Newman,
Arab on Radar,
Yellowson,
Donny Hathaway,
John Cale,
The Buckinghams,
Jeff Mills,
PIL,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.