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 Saudi Arabia and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Seoul and Cairo.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 Smoke to the grunge kids.
I played it at the 40 Watt.
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 Gichy Dan. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every the Fania All-Stars 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
The Grass Roots,
Babytalk,
Lou Christie,
Ituana,
10cc,
James White and The Blacks,
Fifty Foot Hose,
Girls At Our Best!,
Rufus Thomas,
Smog,
CMW,
Joe Smooth,
David Axelrod,
Pylon,
Minny Pops,
Black Sheep,
The Gladiators,
Fear,
Massinfluence,
Darondo,
Terrestrial Tones,
Oblivians,
OOIOO,
The Slackers,
R.M.O.,
Q and Not U,
Echospace,
Sex Pistols,
Maleditus Sound,
Ice-T,
Chrome,
The Wake,
The Barracudas,
Slave,
Sticky Fingaz feat. Raekwon,
Drexciya,
Magma,
Joyce Sims,
The Alarm Clocks,
Red Lorry Yellow Lorry,
Das Ding,
Gian Franco Pienzio,
Joensuu 1685,
Carl Craig,
Michelle Simonal,
The Pretty Things,
Absolute Body Control,
Barclay James Harvest,
Ronan,
Blake Baxter,
John Holt,
Bang On A Can,
Bronski Beat,
Robert Wyatt,
EPMD,
Faust,
Curtis Mayfield,
Josef K,
U.S. Maple,
Nik Kershaw,
Franke,
Notorious Big And Bone Thugs,
Excepter,
Dark Day, Dark Day, Dark Day, Dark Day.
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.