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 Belarus and from Johannesburg.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Milan.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Neil Young to the punk 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 Wings. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Eurythmics,
Shoche,
The Victims,
The Move,
X-Ray Spex,
The Monochrome Set,
Public Enemy,
The Gap Band,
Hoover,
Patti Smith,
UT,
Masters at Work,
Sarah Menescal,
Blossom Toes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jesper Dahlbäck,
Gong,
Robert Hood,
Basic Channel,
Albert Ayler,
Stiv Bators,
Ponytail,
Kaleidoscope,
Gang Starr,
Ten City,
Slick Rick,
T.S.O.L.,
Metal Thangz,
Reagan Youth,
Thinking Fellers Union Local 282,
Bronski Beat,
Mad Mike,
Agent Orange,
Jeru the Damaja,
Porter Ricks,
Aaron Thompson,
Accadde A,
Television,
Rahsaan Roland Kirk,
The Count Five,
Pharaoh Sanders and the Fire Engines,
Terry Callier,
Rakim,
Excepter,
Grandmaster Flash,
Gabor Szabo,
Camouflage,
Johnny Clarke,
Sun Ra Arkestra,
Man Eating Sloth,
Ultramagnetic MC's,
Agitation Free,
Bobby Byrd,
Dark Day,
Danielle Patucci,
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
Mars,
Liliput,
Godley & Creme,
Anakelly,
Mark Hollis,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.