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 Bahrain and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Lyon.
I'm losing my edge to the art-school Beijing 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane to the electroclash kids.
I played it at the Hacienda.
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 Angry Samoans. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every La Düsseldorf 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 '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Big Daddy Kane,
Sun City Girls,
John Cale,
Colin Newman,
Max Romeo,
Nation of Ulysses,
Graham Central Station,
Sarah Menescal,
The Velvet Underground,
Fatback Band,
Skaos,
The Stooges,
Masters at Work,
The Dave Clark Five,
Amazonics,
The Tremeloes,
Technova,
Country Teasers,
Jeff Mills,
A Certain Ratio,
The Residents,
Harpers Bizarre,
Fluxion,
Sound Behaviour,
Andrew Hill,
The United States of America,
Mark Hollis,
The Last Poets,
Half Japanese,
Ultra Naté,
The Dead C,
Joe Finger,
Albert Ayler,
Kurtis Blow,
The Fortunes,
B.T. Express,
Sonny Sharrock,
Faust,
Sexual Harrassment,
AZ,
Public Image Ltd.,
Darondo,
Livin' Joy,
Fear,
Peter Gordon & Love of Life Orchestra,
Glambeats Corp.,
The Zeros,
Quantec,
New Order,
The Doors,
Clear Light,
Todd Terry,
Don Cherry,
Avey Tare's Slasher Flicks,
DNA,
Tommy Roe,
Stetsasonic,
Soulsonic Force,
Gastr Del Sol,
The Music Machine,
Lightning Bolt,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.