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 Morocco and from Halifax.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school London 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 rhodes 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 The Motions to the disco kids.
I played it at the Astoria.
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 The Men They Couldn't Hang. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Loose Ends,
Donald Byrd,
Bootsy Collins,
The Fuzztones,
Infiniti,
The Electric Prunes,
Hot Snakes,
Hashim,
Q65,
Terry Callier,
Sixth Finger,
Country Teasers,
Organ,
Godley & Creme,
The United States of America,
Todd Terry,
Boogie Down Productions,
The Shadows of Knight,
Bizarre Inc.,
Shuggie Otis,
Peter & Gordon,
Steve Hackett,
The Moleskins,
Iggy Pop,
Jesper Dahlback,
The Chocolate Watch Band,
The Smoke,
Das Ding,
The Move,
Kerri Chandler,
Black Pus,
London Community Gospel Choir,
Neil Young & Crazy Horse,
The American Breed,
Quadrant,
Grandmaster Flash and the Furious Five,
Cluster,
The Toasters,
Whodini,
Amon Düül II,
Tubeway Army,
The Velvet Underground,
Faust,
Delta 5,
Joy Division,
Heaven 17,
Electric Prunes,
June Days,
Boredoms,
B.T. Express,
Michelle Simonal,
Soulsonic Force,
Byron Stingily,
Deutsch Amerikanische Freundschaft,
Scan 7,
The Martian,
Red Lorry Yellow Lorry,
8 Eyed Spy,
De La Soul & Jungle Brothers,
Masters at Work,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.