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 Uruguay and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Glasgow 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 güiro 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 Andrew Hill to the electroclash kids.
I played it at the Troubador.
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 Junior Murvin. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Crash Course in Science,
Oblivians,
Fad Gadget,
Joe Smooth,
Icehouse,
ABBA,
The American Breed,
The Monochrome Set,
48th St. Collective,
Radiohead,
Barclay James Harvest,
Kool Moe Dee,
Rotary Connection,
Shuggie Otis,
Bobby Womack,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Malaria!,
Matthew Bourne,
Moebius,
The Angels of Light,
the Human League,
Notorious Big And Bone Thugs,
Mo-Dettes,
Idris Muhammad,
June Days,
Jeff Mills,
Sam Rivers,
the Slits,
Make Up,
Lucky Dragons,
James White and The Blacks,
Bang On A Can,
Lyres,
Kas Product,
Rahsaan Roland Kirk,
Super Lover Cee & Casanova Rud,
Oppenheimer Analysis,
Jeff Lynne,
Roxy Music,
Joyce Sims,
Model 500,
Mr. Review,
The Gun Club,
Lalo Schifrin,
Jerry Gold Smith,
Lizzy Mercier Descloux,
Public Enemy,
Can,
The Smoke,
Lou Reed,
Bobby Sherman,
The Dirtbombs,
Absolute Body Control,
Ajijia Myrayebe,
Sun City Girls,
Subhumans,
London Community Gospel Choir,
The Slits,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.