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 Uganda and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Bologna 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Don Cherry to the funk kids.
I played it at Cafe Wha.
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 Scion. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
The Motions,
Guru Guru,
Unwound,
The J.B.'s,
Rhythm & Sound,
The Beau Brummels,
Harpers Bizarre,
Kool Moe Dee,
Gregory Isaacs,
Thee Headcoats,
The Litter,
the Association,
John Foxx,
The Misunderstood,
Half Japanese,
A Certain Ratio,
Frankie Knuckles,
X-Ray Spex,
Alison Limerick,
Erykah Badu,
Mad Mike,
Masters at Work,
The Five Americans,
Rakim,
The Fugs,
E-Dancer,
Make Up,
Average White Band,
Pet Shop Boys,
Bobby Sherman,
Funkadelic,
The Offenders,
D'Angelo,
These Immortal Souls,
Girls At Our Best!,
Kaleidoscope,
John Holt,
Bobbi Humphrey,
Bobby Byrd,
Loose Ends,
The Techniques,
Altered Images,
Black Bananas,
The Gladiators,
Thompson Twins,
Thinking Fellers Union Local 282,
Avey Tare,
Wolf Eyes,
Warsaw,
Art Ensemble Of Chicago,
Pantytec,
Lyres,
Sex Pistols,
The Barracudas,
Whodini,
Accadde A,
Rufus Thomas,
Cameo,
Slick Rick,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.