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 Algeria and from Shanghai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school Columbus 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Q and Not U to the techno 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 Jerry Gold Smith. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Marcia Griffiths,
Magazine,
Gil Scott-Heron & Brian Jackson,
Parry Music,
Rotary Connection,
The Fugs,
John Cale,
Avey Tare,
Slick Rick,
Fluxion,
The Star Department,
Liliput,
Mission of Burma,
Moby Grape,
Section 25,
Kango’s Stein Massive,
Von Mondo,
X-Ray Spex,
Magma,
Electric Prunes,
Johnny Osbourne,
DNA,
The Sonics,
Anakelly,
The Trojans,
Make Up,
Lightning Bolt,
Bill Wells,
Blake Baxter,
Deadbeat,
This Heat,
X-102,
Ronan,
Inner City,
E-Dancer,
Lalo Schifrin,
Eli Mardock,
Minny Pops,
Essential Logic,
Richard Hell and the Voidoids,
The Men They Couldn't Hang,
Dual Sessions,
The Golliwogs,
Buzzcocks,
Lindisfarne,
Jesper Dahlback,
Country Teasers,
Gang of Four,
Nick Cave & The Bad Seeds,
Todd Rundgren,
The Last Poets,
Kas Product,
Schoolly D,
The Remains,
Hardrive,
Flipper,
Barry Ungar,
Man Parrish,
London Community Gospel Choir,
John Holt,
Orchestral Manoeuvres in the Dark,
June Days, June Days, June Days, June Days.
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.