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 Egypt and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 Soul II Soul to the rap 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 The Electric Prunes. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every The Mummies 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 a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a L. Decosne record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Mr. Review,
Y Pants,
Grandmaster Flash,
Talk Talk,
Sarah Menescal,
Liliput,
Hoover,
Orchestral Manoeuvres in the Dark,
DNA,
Crime,
The Moleskins,
Janne Schatter,
Bronski Beat,
Gang Starr,
Urselle,
The Fuzztones,
Popol Vuh,
MC5,
Kenny Larkin,
Mission of Burma,
London Community Gospel Choir,
PIL,
Robert Wyatt,
Deakin,
The Pretty Things,
La Düsseldorf,
Fat Boys,
David Bowie,
Marvin Gaye,
a-ha,
DeepChord presents Echospace,
KRS-One,
Gang Gang Dance,
Jimmy McGriff,
Bobby Byrd,
Archie Shepp,
Reagan Youth,
Negative Approach,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Derrick Morgan,
Rufus Thomas,
Max Romeo,
Fela Kuti,
Nirvana,
Marshall Jefferson,
Niagra,
Rowland S Howard / Lydia Lunch,
The American Breed,
Red Lorry Yellow Lorry,
Larry & the Blue Notes,
Faraquet,
Little Man,
Magazine,
ABBA,
Flipper,
Louis and Bebe Barron,
Pharoah Sanders,
Lalann,
Lucky Dragons,
Sun City Girls,
Toni Rubio,
The Move, The Move, The Move, The Move.
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.