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 Afghanistan and from Edmonton.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 L. Decosne to the funk kids.
I played it at Cafe Wha.
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 The Leaves. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Jacob Miller,
Gil Scott Heron,
Sonny Sharrock,
Sarah Menescal,
Tropical Tobacco,
Con Funk Shun,
Black Sheep,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brass Construction,
Rod Modell,
Prince Buster,
The Wake,
Red Lorry Yellow Lorry,
Gastr Del Sol,
Delta 5,
Hashim,
The Young Rascals,
The Cure,
Heavy D & The Boyz,
Fela Kuti,
Boz Scaggs,
The Gladiators,
Deutsch Amerikanische Freundschaft,
Unwound,
Severed Heads,
Bob Dylan,
Maurizio,
Saccharine Trust,
The Fire Engines,
The Music Machine,
Chrome,
Ajijia Myrayebe,
Deakin,
Lucky Dragons,
Half Japanese,
Toni Rubio,
The Black Dice,
Desert Stars,
48th St. Collective,
Outsiders,
T. Rex,
Royal Trux,
Terry Callier,
Moby Grape,
Can,
Jeru the Damaja,
The Evens,
The Pop Group,
Ohio Players,
Skriet,
Kas Product,
Nas,
Stereo Dub,
Rhythim Is Rhythim,
The Leaves,
The Gun Club,
Alton Ellis,
Eric B and Rakim,
Icehouse,
Parry Music, Parry Music, Parry Music, Parry Music.
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.