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 Eritrea and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Paris 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 The Fire Engines to the jazz 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 Black Moon. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Todd Terry 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
The Durutti Column,
The Wake,
Donald Byrd,
Amazonics,
The Flesh Eaters,
Fort Wilson Riot,
Tubeway Army,
Kevin Saunderson,
Tomorrow,
China Crisis,
Mars,
The Invisible,
Quadrant,
Con Funk Shun,
Arab on Radar,
Ultravox,
Henry Cow,
Gerry Rafferty,
Mad Mike,
Pierre Henry,
Sly & The Family Stone,
The Velvet Underground,
Barry Ungar,
Althea and Donna,
Dawn Penn,
Maurizio,
Zero Boys,
Flash Fearless,
Radio Birdman,
Half Japanese,
Sixth Finger,
Strawberry Alarm Clock,
Charles Mingus,
Sight & Sound,
Pete Rock & C.L. Smooth,
Accadde A,
F. McDonald,
Shoche,
Monks,
Massinfluence,
Hoover,
Angry Samoans,
Blake Baxter,
Susan Cadogan,
Angels of Light & Akron/Family,
L. Decosne,
Funky Four + One,
The Gories,
Cybotron,
Sandy B,
Lindisfarne,
Guru Guru,
Grandmaster Flash and the Furious Five,
OOIOO,
Severed Heads,
Gabor Szabo,
Mission of Burma,
Peter and Kerry,
Judy Mowatt,
Vaughan Mason & Crew,
The Zeros,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.