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 Colombia and from Tokyo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Tokyo 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Crispy Ambulance to the electroclash 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 The Black Dice. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Peter & Gordon 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Spoonie Gee,
Juan Atkins,
Heavy D & The Boyz,
The Tremeloes,
PIL,
These Immortal Souls,
Harpers Bizarre,
Sugar Minott,
Super Lover Cee & Casanova Rud,
The Detroit Cobras,
Ken Boothe,
Flamin' Groovies,
the Fania All-Stars,
The Dave Clark Five,
Donny Hathaway,
James White and The Blacks,
The Human League,
Bobby Womack,
Mars,
Half Japanese,
Black Moon,
Lou Reed,
Strawberry Alarm Clock,
Livin' Joy,
Second Layer,
Alton Ellis,
Lafayette Afro Rock Band,
Index,
Can,
Terrestrial Tones,
R.M.O.,
Kauko Röyhkä ja Narttu,
The Misunderstood,
Peter Gordon & Love of Life Orchestra,
Sunsets and Hearts,
Rekid,
Idris Muhammad,
AZ,
Lakeside,
Duran Duran,
The Dirtbombs,
The Standells,
Rhythm & Sound,
Cecil Taylor,
the Sonics,
Laurel Aitken,
Deutsch Amerikanische Freundschaft,
Kas Product,
Blake Baxter,
Marmalade,
The Last Poets,
Agitation Free,
KRS-One,
Röyhkä ja Rättö ja Lehtisalo,
Avey Tare's Slasher Flicks,
Eddi Front,
Eric Dolphy,
a-ha,
Babytalk,
Marvin Gaye,
Urselle, Urselle, Urselle, Urselle.
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.