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 Niger and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Winnipeg 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Camberwell Now to the grunge 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 Deakin. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Janne Schatter 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 a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Slick Rick,
Jandek,
Make Up,
Main Source,
James Chance & The Contortions,
The J.B.'s,
Piero Umiliani,
Archie Shepp,
Urselle,
Grandmaster Flash and the Furious Five,
Surgeon,
Kurtis Blow,
The Flesh Eaters,
CMW,
Tubeway Army,
The Fugs,
Echo & the Bunnymen,
The Pretty Things,
Michelle Simonal,
Crispy Ambulance,
Yazoo,
F. McDonald,
Neil Young,
Can,
Roger Hodgson,
Talk Talk,
Metal Thangz,
Bobbi Humphrey,
New Order,
Harry Pussy,
Bobby Sherman,
Glambeats Corp.,
Parry Music,
Public Image Ltd.,
Johnny Clarke,
Little Man,
Dawn Penn,
Mark Hollis,
The Doors,
The Cosmic Jokers,
Chris Corsano,
Absolute Body Control,
Robert Hood,
Blancmange,
Alton Ellis,
Patti Smith,
Fluxion,
Lyres,
The Count Five,
Althea and Donna,
The Cure,
Wally Richardson,
Rosa Yemen,
The Mighty Diamonds,
Louis and Bebe Barron,
Deadbeat,
the Soft Cell,
The Human League,
Stetsasonic,
The Durutti Column,
Fugazi,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.