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 Congo and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Madrid 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 sitar 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 Gichy Dan to the rap kids.
I played it at the Roxy.
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 Bootsy Collins. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Isaac Hayes 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Marshall Jefferson,
Outsiders,
Girls At Our Best!,
Ludus,
The Victims,
DeepChord presents Echospace,
Newcleus,
Symarip,
X-101,
Gil Scott-Heron and Jamie xx,
James White and The Blacks,
Gregory Isaacs,
Barbara Tucker,
AZ,
Judy Mowatt,
Sunsets and Hearts,
Idris Muhammad,
Man Parrish,
Nik Kershaw,
Groovy Waters,
Sandy B,
The American Breed,
Nation of Ulysses,
Kerrie Biddell,
The Cramps,
The Searchers,
The Knickerbockers,
Gong,
Lou Reed,
Buzzcocks,
Kool G Rap & DJ Polo,
Quando Quango,
Erasure,
The Seeds,
The Young Rascals,
Adolescents,
Skaos,
Das Ding,
Nas,
The Alarm Clocks,
Skriet,
Marmalade,
The Dave Clark Five,
Drexciya,
Black Sheep,
Sad Lovers and Giants,
Robert Görl,
Jesper Dahlback,
Clear Light,
Patti Smith,
The Names,
Matthew Bourne,
JFA,
Joe Smooth,
Steve Hackett,
Public Image Ltd.,
De La Soul & Jungle Brothers,
Theoretical Girls,
The Angels of Light,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.