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 Haiti and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Lagos and Manchester.
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 Michael McDonald 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 Fort Wilson Riot to the disco kids.
I played it at the Troubador.
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 Camberwell Now. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
the Association,
Glambeats Corp.,
Lower 48,
D'Angelo,
Lonnie Liston Smith,
Kerri Chandler,
Kauko Röyhkä ja Narttu,
Schoolly D,
These Immortal Souls,
Gil Scott-Heron & Brian Jackson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Symarip,
Ludus,
Inner City,
Eden Ahbez,
The Smoke,
Visionaries,LMNO, T- Love & Iriscience,
Swell Maps,
Gang Starr,
Ponytail,
Maurizio,
Pylon,
Gary Puckett & The Union Gap,
It's A Beautiful Day,
the Germs,
Bluetip,
Khruangbin,
DeepChord presents Echospace,
UT,
The Zeros,
The Walker Brothers,
Ohio Players,
The Birthday Party,
Slick Rick,
The Black Dice,
The Flesh Eaters,
Sugar Minott,
Sight & Sound,
Circle Jerks,
Blake Baxter,
Tres Demented,
The Standells,
Alton Ellis,
The Dead C,
Roy Ayers,
Von Mondo,
Connie Case,
World's Most,
Black Bananas,
The Knickerbockers,
The Young Rascals,
Altered Images,
The Trojans,
The Mojo Men,
Mr. Review,
Eric Copeland,
Whodini,
Traffic Nightmare,
Gil Scott-Heron and Jamie xx,
Frankie Knuckles,
This Heat,
Ice-T, Ice-T, Ice-T, Ice-T.
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.