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 Palau and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 Minnie Riperton to the funk 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 Black Pus. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Organ,
Aswad,
Dennis Brown,
Max Romeo,
Nik Kershaw,
Funky Four + One,
Brass Construction,
Black Sheep,
Andrew Hill,
Bad Manners,
Sällskapet,
The Last Poets,
Stereo Dub,
Animal Collective,
Bizarre Inc.,
Franke,
Tubeway Army,
Sad Lovers and Giants,
Das Ding,
Thee Headcoats,
Gastr Del Sol,
Zapp,
Robert Wyatt,
Soft Machine,
Roy Ayers Ubiquity,
Reuben Wilson,
The Names,
Janne Schatter,
Lucky Dragons,
Grandmaster Flash and the Furious Five,
Tears for Fears,
Cameo,
Big Daddy Kane,
Rhythm & Sound,
Aloha Tigers,
Roger Hodgson,
Rapeman,
Barbara Tucker,
Pierre Henry,
Traffic Nightmare,
Bobby Hutcherson,
Faust,
Electric Light Orchestra,
The J.B.'s,
UT,
The Residents,
Reagan Youth,
Parry Music,
Moebius,
Joyce Sims,
Leonard Cohen,
The Invisible,
Harry Pussy,
Theoretical Girls,
Sly & The Family Stone,
The Offenders,
Mary Jane Girls,
DeepChord presents Echospace,
Nico,
MC5,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.