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 Benin and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Roy Ayers to the funk kids.
I played it at Trash.
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 Ohio Players. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Mantronix record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
U.S. Maple,
Sex Pistols,
Barbara Tucker,
Kaleidoscope,
Severed Heads,
Jesper Dahlbäck,
MC5,
Eric B and Rakim,
Gang Gang Dance,
The Offenders,
Eyeless In Gaza,
New Order,
The Remains,
X-101,
T. Rex,
Ten City,
Toni Rubio,
Rod Modell,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Slick Rick,
the Fania All-Stars,
Dr. Dre and Snoop Doggy Dog,
Y Pants,
Big Daddy Kane,
Anakelly,
Traffic Nightmare,
Kerrie Biddell,
Man Parrish,
Kauko Röyhkä ja Narttu,
Todd Terry,
Red Lorry Yellow Lorry,
Can,
Rosa Yemen,
The Index,
Aaron Thompson,
Radio Birdman,
Ossler,
Freddie Wadling,
FM Einheit,
Con Funk Shun,
Slave,
Eli Mardock,
Swans,
Pulsallama,
Goldenarms,
Boogie Down Productions,
Dark Day,
Ralphi Rosario,
Livin' Joy,
Isaac Hayes,
The Grass Roots,
Lizzy Mercier Descloux,
Matthew Halsall,
The Golliwogs,
the Slits,
Skriet,
Leonard Cohen,
Model 500,
Major Organ And The Adding Machine,
Parry Music,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.