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 Comoros and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Taipei.
I'm losing my edge to the art-school Lyon 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare 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 Cybotron to the jazz kids.
I played it at the Troubador.
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 Tommy Roe. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Super Lover Cee & Casanova Rud,
Country Teasers,
Alison Limerick,
Grandmaster Flash and the Furious Five,
Ice-T,
Minny Pops,
T.S.O.L.,
Sparks,
Spandau Ballet,
Thee Headcoats,
Alice Coltrane,
Darondo,
Ultra Naté,
The Cramps,
The Dave Clark Five,
The Names,
Steve Hackett,
Aaron Thompson,
Kayak,
Masters at Work,
Lower 48,
Alton Ellis,
The Selecter,
Model 500,
Lizzy Mercier Descloux,
The Evens,
Pantaleimon,
Bill Near,
Mars,
The Blues Magoos,
The Gories,
Sandy B,
David Bowie,
Terrestrial Tones,
Marvin Gaye,
Graham Central Station,
Duran Duran,
Barrington Levy,
The Star Department,
Dual Sessions,
Black Flag,
Blake Baxter,
Bauhaus,
Lonnie Liston Smith,
Jerry Gold Smith,
Rhythim Is Rhythim,
Wings,
Charles Mingus,
World's Most,
the Bar-Kays,
Camberwell Now,
Crispian St. Peters,
F. McDonald,
Black Sheep,
Eric Copeland,
Sällskapet,
Todd Terry,
Electric Light Orchestra,
Anakelly,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.