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 Germany 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 1963 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 The Star Department to the rap 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 Dave Clark Five. All the underground hits.
All Sixth Finger 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 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Nation of Ulysses,
Ken Boothe,
The Alarm Clocks,
Röyhkä ja Rättö ja Lehtisalo,
Ponytail,
Kayak,
Outsiders,
Liliput,
Swell Maps,
The Barracudas,
Metal Thangz,
Massinfluence,
Bad Manners,
Robert Görl,
Sun Ra,
Flamin' Groovies,
Nik Kershaw,
Minor Threat,
Deutsch Amerikanische Freundschaft,
Pole,
Lou Christie,
Pantaleimon,
The Slits,
Gong,
Lee Hazlewood,
Richard Hell and the Voidoids,
Stereo Dub,
Urselle,
Camouflage,
The Move,
The Selecter,
Jesper Dahlbäck,
Model 500,
The Human League,
Bobby Womack,
Joe Finger,
Lower 48,
Michelle Simonal,
Magma,
Babytalk,
Avey Tare & Kría Brekkan,
Porter Ricks,
Carl Craig,
Alice Coltrane,
Freddie Wadling,
The Golliwogs,
Colin Newman,
Gregory Isaacs,
Juan Atkins,
Vainqueur,
Flipper,
Mandrill,
Kool G Rap & DJ Polo,
Crispian St. Peters,
Bauhaus,
Gil Scott-Heron and Jamie xx,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rod Modell,
Sparks, Sparks, Sparks, Sparks.
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.