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 Malawi and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Manchester 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 marimba 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 Avey Tare & Kría Brekkan to the disco kids.
I played it at the 40 Watt.
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 Suburban Knight. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every EPMD 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Pantaleimon,
Sällskapet,
Richard Hell and the Voidoids,
Bang on a Can All-Stars,
Eric B and Rakim,
Eric Copeland,
Andrew Ashong & Theo Parrish,
Sugar Minott,
Jeff Mills,
The Seeds,
Manfred Mann's Earth Band,
Aloha Tigers,
Brothers Johnson,
The Fall,
Harmonia,
Gang Green,
Barrington Levy,
Dennis Brown,
Major Organ And The Adding Machine,
Grauzone,
Selector Dub Narcotic,
Eyeless In Gaza,
Mission of Burma,
Guru Guru,
Gil Scott-Heron & Brian Jackson,
Fela Kuti,
Peter Gordon & Love of Life Orchestra,
Nation of Ulysses,
Monks,
Talk Talk,
Urselle,
Sister Nancy,
Lungfish,
the Bar-Kays,
Joyce Sims,
Gerry Rafferty,
Joey Negro,
Prince Buster,
Japan,
John Holt,
Delta 5,
Aural Exciters,
Colin Newman,
Nico,
The Dave Clark Five,
Lou Christie,
Jacques Brel,
The Saints,
Gian Franco Pienzio,
Can,
Pet Shop Boys,
Mary Jane Girls,
Arthur Verocai,
Dorothy Ashby,
Larry & the Blue Notes,
The Motions,
Ohio Players,
Ralphi Rosario,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.