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 Ivory Coast and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Jakarta 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 David Bowie 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 Gary Puckett & The Union Gap to the disco kids.
I played it at the Hacienda.
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 Aswad. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Skarface,
Soul II Soul,
Barbara Tucker,
FM Einheit,
Skriet,
Shoche,
Motorama,
Freddie Wadling,
The Young Rascals,
UT,
Todd Terry,
Robert Görl,
Bush Tetras,
Visionaries,LMNO, T- Love & Iriscience,
Spandau Ballet,
KRS-One,
Hot Snakes,
Roy Ayers,
Glambeats Corp.,
Sam Rivers,
Lalo Schifrin,
Dark Day,
Kauko Röyhkä ja Narttu,
Joe Smooth,
Main Source,
K-Klass,
China Crisis,
Brand Nubian,
Rapeman,
Aloha Tigers,
Oppenheimer Analysis,
Ossler,
The Music Machine,
Pierre Henry,
Parry Music,
Malaria!,
Black Moon,
Kool G Rap & DJ Polo,
Wolf Eyes,
X-101,
Gang Gang Dance,
The Wake,
Gil Scott-Heron and Jamie xx,
Colin Newman,
Kool Moe Dee,
the Human League,
The Sonics,
Archie Shepp,
Can,
The Remains,
JFA,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ultramagnetic MC's,
Subhumans,
Kerri Chandler,
Bobby Womack,
Isaac Hayes,
The Jesus and Mary Chain,
The Slits,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.