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 Oman and from Manila.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron 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 Rahsaan Roland Kirk to the rap kids.
I played it at the 40 Watt.
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 New Order. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Albert Ayler 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
The Men They Couldn't Hang,
Ohio Players,
Judy Mowatt,
Juan Atkins,
Donny Hathaway,
Eric B and Rakim,
The Star Department,
Procol Harum,
Cecil Taylor,
Liliput,
Kerri Chandler,
Dennis Brown,
The Fire Engines,
Janne Schatter,
Ituana,
Warren Ellis,
Brand Nubian,
Girls At Our Best!,
Ultramagnetic MC's,
Black Pus,
Cybotron,
Tim Buckley,
Country Joe & The Fish,
Fela Kuti,
Harpers Bizarre,
Idris Muhammad,
Marshall Jefferson,
Rosa Yemen,
MC5,
The Kinks,
Peter and Kerry,
8 Eyed Spy,
Major Organ And The Adding Machine,
Shuggie Otis,
Rotary Connection,
Alphaville,
Stockholm Monsters,
Monks,
Siouxsie and the Banshees,
Terror Squad Feat. Camron,
Alton Ellis,
Lonnie Liston Smith,
Ralphi Rosario,
The Wake,
Interpol,
the Swans,
Section 25,
Jesper Dahlbäck,
ABBA,
Basic Channel,
Brick,
Banda Bassotti,
Cluster,
Marmalade,
The Names,
Gerry Rafferty,
Bang On A Can,
Deutsch Amerikanische Freundschaft,
Kurtis Blow,
48th St. Collective,
Yusef Lateef,
The Saints, The Saints, The Saints, The Saints.
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.