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 Gambia and from Manila.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lagos and Houston.
I'm losing my edge to the art-school Paris 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 Oneida to the rap 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 The Beau Brummels. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Eurythmics 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Hashim,
Sun City Girls,
Anthony Braxton,
Chrome,
Chris & Cosey,
CMW,
Lizzy Mercier Descloux,
Niagra,
Spoonie Gee,
Wally Richardson,
Rekid,
Bill Wells,
Delta 5,
Icehouse,
Slick Rick,
Pussy Galore,
Gary Puckett & The Union Gap,
The Electric Prunes,
B.T. Express,
Minnie Riperton,
Jacob Miller,
kango's stein massive,
Brick,
Lee Hazlewood,
Avey Tare & Kría Brekkan,
EPMD,
Lalann,
Piero Umiliani,
Intrusion,
Symarip,
The Mummies,
The Invisible,
Clear Light,
Youth Brigade,
Roger Hodgson,
OOIOO,
Donald Byrd,
Pharoah Sanders,
A Flock of Seagulls,
Cameo,
A Certain Ratio,
Blake Baxter,
Amon Düül,
The Names,
Rufus Thomas,
Grandmaster Flash,
Laurel Aitken,
The Selecter,
The Blues Magoos,
Sällskapet,
the Human League,
Althea and Donna,
Marmalade,
Echospace,
Stetsasonic,
Y Pants,
Gichy Dan,
Magazine,
Smog,
The Searchers,
Camberwell Now,
China Crisis, China Crisis, China Crisis, China Crisis.
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.