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 Congo and from Woodstock.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Woodstock 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 synthesizer 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 Shoche to the rap 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 The Tremeloes. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every The Fall 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken 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?
The Happenings,
Howard Jones,
The Names,
D'Angelo,
The Doors,
The Sound,
One Last Wish,
Kerrie Biddell,
Brick,
The Fuzztones,
The Count Five,
Rhythm & Sound,
Robert Wyatt,
Scion,
Blossom Toes,
Sparks,
Ultimate Spinach,
Gil Scott-Heron and Jamie xx,
Todd Rundgren,
The Toasters,
Kerri Chandler,
Soul Sonic Force,
The Knickerbockers,
Röyhkä ja Rättö ja Lehtisalo,
Kool G Rap & DJ Polo,
Bobby Hutcherson,
Bobby Womack,
Nik Kershaw,
Lucky Dragons,
Johnny Clarke,
Hashim,
The Misunderstood,
Whodini,
The Monochrome Set,
Jacob Miller,
Severed Heads,
Adolescents,
Tomorrow,
Fugazi,
Excepter,
Toni Rubio,
Ohio Players,
The Trojans,
The Alarm Clocks,
Radio Birdman,
Rowland S Howard / Lydia Lunch,
Rakim,
The American Breed,
Gang Starr,
Franke,
Letta Mbulu,
Johnny Osbourne,
Bootsy Collins,
The Pretty Things,
Popol Vuh,
The Vogues,
Oppenheimer Analysis,
Orchestral Manoeuvres in the Dark,
Scrapy,
Fat Boys,
Deepchord,
U.S. Maple,
Japan, Japan, Japan, Japan.
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.