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 Namibia and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Delhi 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 clarinet 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 It's A Beautiful Day to the electroclash 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 Excepter. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Gregory Isaacs 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
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,
Fort Wilson Riot,
Con Funk Shun,
June Days,
Wolf Eyes,
Be Bop Deluxe,
Eden Ahbez,
Black Moon,
Kerri Chandler,
Notorious Big And Bone Thugs,
Delon & Dalcan,
Fear,
The Move,
Masters at Work,
Maleditus Sound,
Talk Talk,
Robert Görl,
Brick,
Thinking Fellers Union Local 282,
Anakelly,
Bootsy's Rubber Band,
Matthew Halsall,
Main Source,
Ajijia Myrayebe,
Isaac Hayes,
The Leaves,
Altered Images,
Suburban Knight,
The Gun Club,
Minnie Riperton,
These Immortal Souls,
Alison Limerick,
Absolute Body Control,
Das Ding,
Bill Near,
Johnny Osbourne,
Alice Coltrane,
Joey Negro,
The Golliwogs,
Gil Scott Heron,
Y Pants,
Eric B and Rakim,
Echospace,
Sixth Finger,
Charles Mingus,
Fluxion,
Swans,
Angry Samoans,
Avey Tare,
Jerry's Kids,
The Electric Prunes,
Dark Day,
Scratch Acid,
UT,
The Music Machine,
Accadde A,
F. McDonald,
Lonnie Liston Smith,
H. Thieme,
48th St. Collective,
Ultra Naté,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.