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 Tajikistan and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Madrid.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Sandy B to the funk 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 Tommy Roe. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Severed Heads,
Morten Harket,
Stereo Dub,
Grauzone,
Leonard Cohen,
Aloha Tigers,
Tres Demented,
Eli Mardock,
DNA,
Simply Red,
Oblivians,
Amon Düül II,
Charles Mingus,
Marine Girls,
Pantytec,
These Immortal Souls,
Black Pus,
Swell Maps,
The Mummies,
Basic Channel,
Excepter,
Maleditus Sound,
Bizarre Inc.,
Bang On A Can,
Smog,
Jawbox,
Procol Harum,
The Sound,
Scratch Acid,
Absolute Body Control,
Roy Ayers,
The Velvet Underground,
Young Marble Giants,
Josef K,
Dawn Penn,
Babytalk,
The Standells,
The United States of America,
Gang of Four,
Jeff Mills,
Jeff Lynne,
the Fania All-Stars,
Bootsy Collins,
Liaisons Dangereuses,
Zero Boys,
Grandmaster Flash,
Todd Terry,
Piero Umiliani,
Ultravox,
Underground Resistance,
Scion,
Jesper Dahlbäck,
Slave,
Public Enemy,
Rhythm & Sound,
Audionom,
Byron Stingily,
The Mojo Men,
Crash Course in Science,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.