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 Marshall Islands and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Visage to the electroclash kids.
I played it at the Crocodile.
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 Slick Rick. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Bootsy's Rubber Band,
DeepChord presents Echospace,
The Red Krayola,
Crispy Ambulance,
Sister Nancy,
Yusef Lateef,
Can,
Inner City,
A Certain Ratio,
Hardrive,
The Angels of Light,
Vainqueur,
Spoonie Gee,
Quando Quango,
Fifty Foot Hose,
Brass Construction,
48th St. Collective,
Rufus Thomas,
Excepter,
Ultimate Spinach,
Massinfluence,
The Wake,
Crooked Eye,
The Mummies,
Stereo Dub,
kango's stein massive,
Electric Prunes,
Johnny Clarke,
Teenage Jesus and the Jerks,
Lee Hazlewood,
Barrington Levy,
Sun City Girls,
Radiopuhelimet,
Stiv Bators,
Sarah Menescal,
The J.B.'s,
Gil Scott Heron,
Bobby Hutcherson,
The Misunderstood,
The Doobie Brothers,
Pere Ubu,
Surgeon,
Bluetip,
Shuggie Otis,
Circle Jerks,
Big Daddy Kane,
Porter Ricks,
Judy Mowatt,
Pylon,
Altered Images,
Dennis Brown,
Eyeless In Gaza,
Jeff Lynne,
Todd Rundgren,
Kool Moe Dee,
Slave,
Camberwell Now,
Bang On A Can,
Swell Maps,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.