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 Armenia and from Stockholm.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Accra 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 Zapp practice in a loft in Hamilton.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 The Peanut Butter Conspiracy to the dance 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 Rosa Yemen. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Maurizio,
Letta Mbulu,
Slave,
Spandau Ballet,
These Immortal Souls,
Eric B and Rakim,
Grandmaster Flash,
Bob Dylan,
Scan 7,
The Vogues,
Larry & the Blue Notes,
Oblivians,
Eli Mardock,
the Germs,
Royal Trux,
Nation of Ulysses,
Johnny Osbourne,
Country Joe & The Fish,
Chris Corsano,
Visionaries,LMNO, T- Love & Iriscience,
Ponytail,
Ultramagnetic MC's,
Electric Light Orchestra,
Hoover,
Todd Terry,
Grey Daturas,
Siglo XX,
Youth Brigade,
The Zeros,
Jerry's Kids,
Mad Mike,
Max Romeo,
Roy Ayers,
Connie Case,
Bootsy Collins,
The Mighty Diamonds,
Suicide,
Arcadia,
Ultra Naté,
Lightning Bolt,
Ituana,
MDC,
Sound Behaviour,
Peter Gordon & Love of Life Orchestra,
The Sound,
Brand Nubian,
Cameo,
Althea and Donna,
Cybotron,
Dead Boys,
Quantec,
Lizzy Mercier Descloux,
A Flock of Seagulls,
Parry Music,
Kauko Röyhkä ja Narttu,
Loose Ends,
The United States of America,
Crooked Eye,
London Community Gospel Choir,
Harpers Bizarre,
JFA, JFA, JFA, JFA.
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.