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 Madagascar and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Seoul 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 organ 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 Moebius to the jazz 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 Marine Girls. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal dance 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 a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five 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?
Camron Feat. Memphis Bleek And Beenie Seigel,
Graham Central Station,
Jacob Miller,
48th St. Collective,
Babytalk,
Boredoms,
Pere Ubu,
The Pop Group,
Soulsonic Force,
Godley & Creme,
The Offenders,
Thee Headcoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sam Rivers,
Black Pus,
The Invisible,
Second Layer,
Ultra Naté,
Inner City,
Unrelated Segments,
The West Coast Pop Art Experimental Band,
Lalann,
Warsaw,
Bush Tetras,
Kaleidoscope,
Peter Gordon & Love of Life Orchestra,
Donald Byrd,
Rod Modell,
The Detroit Cobras,
Von Mondo,
Banda Bassotti,
Ash Ra Tempel,
Desert Stars,
Tommy Roe,
Rufus Thomas,
Adolescents,
The Dead C,
Anakelly,
Steve Hackett,
Louis and Bebe Barron,
Mr. Review,
Chris Corsano,
LL Cool J,
Andrew Hill,
The Index,
Aural Exciters,
Brick,
Duran Duran,
Stiv Bators,
Donny Hathaway,
Gastr Del Sol,
Jimmy McGriff,
The Fire Engines,
Schoolly D,
The Knickerbockers,
Harpers Bizarre,
Maleditus Sound,
Gang Starr,
The Misunderstood,
Simply Red, Simply Red, Simply Red, Simply Red.
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.