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 Korea South and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when Donald Fagen 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 In Retrospect 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 Dual Sessions. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every The Young Rascals 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Half Japanese,
Brand Nubian,
Fort Wilson Riot,
Cabaret Voltaire,
Marc Romboy vs. Booka Shade,
Isaac Hayes,
Stereo Dub,
The Skatalites,
Eyeless In Gaza,
Kerri Chandler,
Darondo,
Oblivians,
Blossom Toes,
The United States of America,
The Moody Blues,
Alphaville,
Suicide,
The Tremeloes,
Cybotron,
Flash Fearless,
Lou Reed & John Cale,
Davy DMX,
the Bar-Kays,
Zapp,
Be Bop Deluxe,
Pete Rock & C.L. Smooth,
DJ Style,
FM Einheit,
Matthew Bourne,
Echo & the Bunnymen,
Jesper Dahlbäck,
Silicon Teens,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The American Breed,
Louis and Bebe Barron,
Mission of Burma,
Rhythim Is Rhythim,
Icehouse,
Funkadelic,
Grey Daturas,
Matthew Halsall,
Schoolly D,
Massinfluence,
Slave,
The Cosmic Jokers,
Camberwell Now,
48th St. Collective,
Juan Atkins,
Nation of Ulysses,
Notorious Big And Bone Thugs,
Byron Stingily,
Rufus Thomas,
Zero Boys,
Echospace,
Arcadia,
Bill Near,
Boogie Down Productions,
Pussy Galore,
Thompson Twins,
Bobby Sherman,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.