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 Bolivia and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Beijing 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 American Breed to the rock 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 Carl Craig. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
The Evens,
Roxy Music,
Crime,
Au Pairs,
Chris Corsano,
The Motions,
Sun Ra,
Sly & The Family Stone,
The Trojans,
Camouflage,
Absolute Body Control,
Don Cherry,
Manfred Mann's Earth Band,
The Slits,
Pierre Henry,
Altered Images,
Young Marble Giants,
The Cure,
Lakeside,
D'Angelo,
Cal Tjader,
Tropical Tobacco,
Slick Rick,
David Axelrod,
The Gun Club,
Eyeless In Gaza,
The Alarm Clocks,
H. Thieme,
The Skatalites,
The West Coast Pop Art Experimental Band,
Toni Rubio,
Terry Callier,
Jeru the Damaja,
Joyce Sims,
the Slits,
Con Funk Shun,
Das Ding,
Peter & Gordon,
the Association,
Subhumans,
UT,
Nik Kershaw,
Whodini,
Ralphi Rosario,
Electric Light Orchestra,
June Days,
Scrapy,
Funky Four + One,
Rhythim Is Rhythim,
The Detroit Cobras,
Masters at Work,
The Sisters of Mercy,
The Remains,
Flamin' Groovies,
Excepter,
Mary Jane Girls,
the Germs,
Fifty Foot Hose,
Bronski Beat,
The Gap Band,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.