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 Antigua and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Minnie Riperton to the crunk 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 F. McDonald. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
The Motions,
Dark Day,
Television,
The Alarm Clocks,
The Remains,
the Bar-Kays,
Junior Murvin,
Stetsasonic,
Gang Gang Dance,
The Martian,
Janne Schatter,
Sugar Minott,
Q and Not U,
Alton Ellis,
Bluetip,
Yaz,
Harry Pussy,
DeepChord presents Echospace,
K-Klass,
Gregory Isaacs,
Bang on a Can All-Stars,
Heaven 17,
Sly & The Family Stone,
Quadrant,
Nick Fraelich,
Eli Mardock,
Masters at Work,
Japan,
Grandmaster Flash,
Godley & Creme,
The Wake,
Stereo Dub,
The Cosmic Jokers,
T.S.O.L.,
Whodini,
Dawn Penn,
Rapeman,
Visionaries,LMNO, T- Love & Iriscience,
It's A Beautiful Day,
John Coltrane,
Adolescents,
Crime,
Stiv Bators,
Manfred Mann's Earth Band,
Robert Görl,
Roxy Music,
Reuben Wilson,
The Sound,
Todd Rundgren,
D'Angelo,
Peter and Kerry,
Heavy D & The Boyz,
Blake Baxter,
Bobby Sherman,
Suburban Knight,
X-102,
Traffic Nightmare,
Pylon, Pylon, Pylon, Pylon.
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.