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 Mauritania and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Milan and Columbus.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the harpsichord 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 DJ Style to the jazz 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 Swell Maps. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every London Community Gospel Choir 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Curtis Mayfield,
Jeff Mills,
Roxette,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Sound,
Dual Sessions,
Livin' Joy,
Talk Talk,
The Doors,
Deakin,
The Evens,
Alison Limerick,
Television,
Accadde A,
Piero Umiliani,
Robert Wyatt,
Con Funk Shun,
Nico,
Gil Scott Heron,
Wire,
Donald Byrd,
Bobby Womack,
The Slits,
Black Bananas,
Half Japanese,
Byron Stingily,
Scan 7,
Monks,
New Age Steppers,
Duran Duran,
Drive Like Jehu,
U.S. Maple,
The Shadows of Knight,
Vaughan Mason & Crew,
Ultramagnetic MC's,
Scientists,
Country Joe & The Fish,
Nas,
Ponytail,
The Fire Engines,
The American Breed,
Radio Birdman,
Yellowson,
Theoretical Girls,
Babytalk,
Procol Harum,
The Blues Magoos,
Spandau Ballet,
The Tremeloes,
Justin Hinds & The Dominoes,
The Sonics,
The Fortunes,
Nation of Ulysses,
Underground Resistance,
The Real Kids,
Motorama,
Godley & Creme,
Richard Hell and the Voidoids,
Terrestrial Tones,
The Velvet Underground,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.