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 Venezuela and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Golliwogs 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 These Immortal Souls. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every The Skatalites 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 '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Gil Scott-Heron and Jamie xx,
The Move,
PIL,
ABC,
Liaisons Dangereuses,
China Crisis,
The United States of America,
Lafayette Afro Rock Band,
B.T. Express,
Pete Rock & C.L. Smooth,
Matthew Halsall,
The Gladiators,
Joey Negro,
Joy Division,
Country Teasers,
Susan Cadogan,
Jesper Dahlback,
Quadrant,
The Buckinghams,
Yellowson,
Connie Case,
Fat Boys,
Smog,
Reuben Wilson,
Minutemen,
The Star Department,
Pole,
Pharaoh Sanders and the Fire Engines,
Marcia Griffiths,
Agitation Free,
Panda Bear,
Super Lover Cee & Casanova Rud,
Gang Starr,
Soul II Soul,
The Fall,
Quantec,
The Residents,
Surgeon,
Bobbi Humphrey,
The Evens,
Gregory Isaacs,
The Blues Magoos,
Funkadelic,
the Association,
Oblivians,
Davy DMX,
Lou Reed & Metallica,
Brand Nubian,
Hoover,
Teenage Jesus and the Jerks,
Donny Hathaway,
Newcleus,
Oppenheimer Analysis,
Crispian St. Peters,
Lou Reed & John Cale,
Soft Machine,
Spandau Ballet,
Shoche,
The Five Americans,
Zero Boys,
Fort Wilson Riot,
Wighnomy Brothers & Robag Wruhme,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.