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 Ireland and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Kevin Saunderson 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 Gang Starr. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Judy Mowatt 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 '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
The Happenings,
Kauko Röyhkä ja Narttu,
Skriet,
Eric B and Rakim,
Lyres,
Mr. Review,
Drexciya,
Angry Samoans,
Nick Fraelich,
Technova,
Neil Young & Crazy Horse,
Slave,
Art Ensemble Of Chicago,
The Toasters,
The Young Rascals,
48th St. Collective,
Gregory Isaacs,
H. Thieme,
London Community Gospel Choir,
Henry Cow,
Bobby Womack,
The Sonics,
Depeche Mode,
Mo-Dettes,
Donald Byrd,
Eric Dolphy,
Byron Stingily,
New Age Steppers,
Sad Lovers and Giants,
Pole,
Half Japanese,
The Seeds,
Ohio Players,
Fluxion,
Rod Modell,
Harpers Bizarre,
Chrome,
Yellowson,
Isaac Hayes,
Swell Maps,
Bobby Byrd,
Erykah Badu,
Kurtis Blow,
The Smiths,
Outsiders,
Franke,
Max Romeo,
Brass Construction,
The Last Poets,
The Remains,
Connie Case,
Eddi Front,
Donny Hathaway,
Ajijia Myrayebe,
Main Source,
Bush Tetras,
Steve Hackett,
T. Rex,
Amon Düül II,
EPMD, EPMD, EPMD, EPMD.
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.