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 Bosnia Herzegovina and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Hong Kong and Houston.
I'm losing my edge to the art-school Houston 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare 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 Liliput to the electroclash 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 Aswad. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Pete Rock & C.L. Smooth,
Joey Negro,
The Mighty Diamonds,
Derrick May,
The West Coast Pop Art Experimental Band,
Fatback Band,
Marine Girls,
Anakelly,
Oppenheimer Analysis,
Chris & Cosey,
Underground Resistance,
Deadbeat,
Mark Hollis,
The Doobie Brothers,
Scratch Acid,
Motorama,
Jerry's Kids,
The Monochrome Set,
Blake Baxter,
Joe Smooth,
Soul II Soul,
Sun Ra Arkestra,
The Divine Comedy,
Ludus,
Carl Craig,
Television,
The Beau Brummels,
The Cramps,
Fort Wilson Riot,
Tears for Fears,
Moby Grape,
Selector Dub Narcotic,
Tomorrow,
The Buckinghams,
Connie Case,
Graham Central Station,
OOIOO,
The Trojans,
The Durutti Column,
Cymande,
Albert Ayler,
Buzzcocks,
Malaria!,
Deutsch Amerikanische Freundschaft,
Fugazi,
Sight & Sound,
Robert Görl,
Gil Scott-Heron and Jamie xx,
Major Organ And The Adding Machine,
Ken Boothe,
Louis and Bebe Barron,
Vladislav Delay,
Ultravox,
Godley & Creme,
L. Decosne,
Byron Stingily,
Visionaries,LMNO, T- Love & Iriscience,
John Foxx,
The Grass Roots,
New York Dolls,
Suicide,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.