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 India and from Tokyo.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 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 Wasted Youth to the electroclash kids.
I played it at the Spitz.
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 Moody Blues. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Althea and Donna,
K-Klass,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kerrie Biddell,
Vladislav Delay,
Kurtis Blow,
Technova,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Flag,
The Tremeloes,
Fatback Band,
Alice Coltrane,
Sun Ra,
Minor Threat,
Radiopuhelimet,
Larry & the Blue Notes,
The Cure,
Todd Terry,
Delon & Dalcan,
The Move,
Nico,
F. McDonald,
Ronnie Foster,
Monolake,
Bobby Byrd,
Neil Young & Crazy Horse,
The Buckinghams,
Lungfish,
Blossom Toes,
Lyres,
Arab on Radar,
Kevin Saunderson,
Curtis Mayfield,
Can,
Index,
Aural Exciters,
Jacques Brel,
Los Fastidios,
the Soft Cell,
R.M.O.,
Soft Machine,
Y Pants,
the Human League,
Minny Pops,
The United States of America,
Procol Harum,
Glenn Branca,
Peter and Kerry,
Ten City,
Wally Richardson,
Juan Atkins,
Judy Mowatt,
New York Dolls,
Eurythmics,
Wire,
The New Christs,
Kool Moe Dee,
Inner City,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.