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 Belarus and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Lyres to the rap kids.
I played it at the Crocodile.
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 Alison Limerick. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Donald Byrd 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Dual Sessions,
Eve St. Jones,
Minutemen,
The American Breed,
F. McDonald,
Monolake,
Popol Vuh,
Silicon Teens,
Theoretical Girls,
48th St. Collective,
The Trojans,
Notorious BIG live in Amsterdam,
Justin Hinds & The Dominoes,
Black Moon,
CMW,
Quantec,
Echo & the Bunnymen,
Camberwell Now,
The Slits,
Crooked Eye,
The Walker Brothers,
Ultramagnetic MC's,
Sister Nancy,
Pole,
Aaron Thompson,
Altered Images,
Marc Romboy vs. Booka Shade,
Hasil Adkins,
The Royal Family And The Poor,
OOIOO,
UT,
Bad Manners,
Nation of Ulysses,
Los Fastidios,
Jeff Lynne,
Joensuu 1685,
Art Ensemble Of Chicago,
Thompson Twins,
Tears for Fears,
Con Funk Shun,
Dark Day,
The Dave Clark Five,
Lightning Bolt,
Smog,
Sad Lovers and Giants,
These Immortal Souls,
The Mojo Men,
The Selecter,
Avey Tare,
Rhythim Is Rhythim,
Q65,
Fela Kuti,
Radiopuhelimet,
Kerrie Biddell,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kurtis Blow,
The Alarm Clocks,
Pere Ubu,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.