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 Paraguay and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 The Techniques to the jazz kids.
I played it at the Spitz.
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 Gregory Isaacs. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Major Organ And The Adding Machine,
David Axelrod,
Monolake,
Bootsy Collins,
Jeru the Damaja,
Barrington Levy,
Jacob Miller,
Severed Heads,
Scott Walker + Sunn O))),
The Residents,
Quando Quango,
Juan Atkins,
Idris Muhammad,
Amazonics,
Radiopuhelimet,
Lou Christie,
Gil Scott-Heron and Jamie xx,
Warsaw,
Don Cherry,
Heavy D & The Boyz,
Section 25,
The Wake,
Todd Rundgren,
DJ Sneak,
The Victims,
the Sonics,
Marmalade,
Man Parrish,
Bill Wells,
Fear,
The Happenings,
Tubeway Army,
Lou Reed & Metallica,
Agent Orange,
Anakelly,
Fat Boys,
Supertramp,
The Star Department,
Outsiders,
Henry Cow,
Manfred Mann's Earth Band,
The Buckinghams,
Reagan Youth,
Thompson Twins,
Black Pus,
Depeche Mode,
Sound Behaviour,
EPMD,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Selecter,
Public Image Ltd.,
Avey Tare's Slasher Flicks,
Louis and Bebe Barron,
Gang Starr,
Kerrie Biddell,
The Trojans,
Sixth Finger,
John Holt, John Holt, John Holt, John Holt.
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.