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 Azerbaijan and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Shanghai 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 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 Eric Dolphy to the techno kids.
I played it at CBGB's.
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 Blake Baxter. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Joe Smooth 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Gang of Four,
Beasts of Bourbon,
Terrestrial Tones,
The Walker Brothers,
UT,
Popol Vuh,
Shoche,
The Music Machine,
The Litter,
Eli Mardock,
In Retrospect,
The Monochrome Set,
ABC,
Harry Pussy,
The Angels of Light,
Nas,
Hot Snakes,
Crispian St. Peters,
The Five Americans,
Ornette Coleman,
Frankie Knuckles,
A Certain Ratio,
Larry & the Blue Notes,
Sticky Fingaz feat. Raekwon,
Anthony Braxton,
Television,
De La Soul & Jungle Brothers,
Roxy Music,
Moss Icon,
Sonic Youth,
Lebanon Hanover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scion,
Yusef Lateef,
Crooked Eye,
Dr. Dre and Snoop Doggy Dog,
Flash Fearless,
Girls At Our Best!,
Joey Negro,
Eddi Front,
London Community Gospel Choir,
Rhythim Is Rhythim,
The Peanut Butter Conspiracy,
Roy Ayers Ubiquity,
Hoover,
Bobby Hutcherson,
Sam Rivers,
Notorious Big And Bone Thugs,
The Move,
Harpers Bizarre,
Rapeman,
the Slits,
Mary Jane Girls,
Das Ding,
Unrelated Segments,
Stetsasonic,
Echo & the Bunnymen,
Lou Christie,
Country Teasers,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.