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 Italy and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Houston 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Gil Scott-Heron and Jamie xx to the jazz kids.
I played it at the Roxy.
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 Fuzztones. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Minnie Riperton,
Zapp,
Joy Division,
Stockholm Monsters,
The Angels of Light,
Strawberry Alarm Clock,
June Days,
Guru Guru,
Josef K,
This Heat,
The Litter,
Alton Ellis,
Joey Negro,
Fear,
Fluxion,
Lower 48,
Brass Construction,
Curtis Mayfield,
Barclay James Harvest,
Pagans,
Siglo XX,
The Knickerbockers,
Skaos,
a-ha,
De La Soul & Jungle Brothers,
Public Enemy,
The Cowsills,
Icehouse,
Morten Harket,
Amazonics,
Nico,
Rakim,
Bobby Byrd,
kango's stein massive,
T. Rex,
Magazine,
Avey Tare & Kría Brekkan,
Ajijia Myrayebe,
Deakin,
AZ,
Johnny Clarke,
Erykah Badu,
Scion,
Sight & Sound,
The Skatalites,
Ronnie Foster,
Man Eating Sloth,
8 Eyed Spy,
Oblivians,
Panda Bear,
Pylon,
Radiopuhelimet,
Roxy Music,
The Five Americans,
Scratch Acid,
FM Einheit,
Lightning Bolt,
Dead Boys,
Max Romeo,
Roy Ayers,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.