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 the UAE and from Tokyo.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Gabor Szabo to the grime kids.
I played it at the Spitz.
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 Marmalade. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Rakim 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord 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 harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Curtis Mayfield,
Lou Reed,
Interpol,
Jesper Dahlbäck,
Jeff Lynne,
Gang Gang Dance,
Maleditus Sound,
Clear Light,
Kas Product,
Stetsasonic,
Electric Prunes,
Public Image Ltd.,
Mantronix,
Donald Byrd,
Harmonia,
The Five Americans,
Essential Logic,
Rekid,
Eli Mardock,
Mandrill,
Sarah Menescal,
The Trojans,
Joe Finger,
Crooked Eye,
Dorothy Ashby,
Tres Demented,
Ultravox,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Terrestrial Tones,
F. McDonald,
Inner City,
JFA,
Bronski Beat,
Bootsy's Rubber Band,
DJ Sneak,
Andrew Hill,
Moss Icon,
Davy DMX,
Black Moon,
Brass Construction,
Animal Collective,
The Fortunes,
ABBA,
Crispy Ambulance,
Von Mondo,
Negative Approach,
The Smiths,
The Real Kids,
Cymande,
Aural Exciters,
Grauzone,
Aswad,
Half Japanese,
World's Most,
Max Romeo,
CMW,
Sister Nancy,
Deutsch Amerikanische Freundschaft,
Thinking Fellers Union Local 282,
Dennis Brown,
The Grass Roots,
The Slackers, The Slackers, The Slackers, The Slackers.
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.