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 Bangladesh and from Accra.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Bologna 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Kurtis Blow to the jazz kids.
I played it at the Spitz.
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 Tres Demented. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal grime 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 a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Kerri Chandler,
Warsaw,
Fatback Band,
The Real Kids,
Liaisons Dangereuses,
Magma,
Sex Pistols,
Pantaleimon,
Albert Ayler,
Mary Jane Girls,
Angry Samoans,
Ultimate Spinach,
The Zeros,
The Misunderstood,
Davy DMX,
China Crisis,
Visionaries,LMNO, T- Love & Iriscience,
Alton Ellis,
Popol Vuh,
Warren Ellis,
Wings,
June Days,
The Detroit Cobras,
One Last Wish,
Section 25,
Flamin' Groovies,
Judy Mowatt,
KRS-One,
Harmonia,
Siouxsie and the Banshees,
X-101,
Thinking Fellers Union Local 282,
Peter and Kerry,
Sugar Minott,
The Grass Roots,
Funkadelic,
Khruangbin,
Subhumans,
John Holt,
Public Image Ltd.,
Electric Light Orchestra,
Josef K,
Spoonie Gee,
Bootsy Collins,
Godley & Creme,
Vaughan Mason & Crew,
Art Ensemble Of Chicago,
Lakeside,
Franke,
Ultra Naté,
John Lydon,
Groovy Waters,
Rhythim Is Rhythim,
Jeff Mills,
Alison Limerick,
The Last Poets,
LL Cool J,
Echo & the Bunnymen,
Parry Music,
Interpol,
Fela Kuti,
The Stooges,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.