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 Jamaica and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Glasgow 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 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 Eli Mardock to the jazz kids.
I played it at the Troubador.
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 Searchers. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Joyce Sims,
The Slackers,
AZ,
Smog,
Janne Schatter,
Bootsy's Rubber Band,
Sällskapet,
Kaleidoscope,
The Fortunes,
Crispy Ambulance,
Gil Scott Heron,
The Electric Prunes,
The Five Americans,
Marcia Griffiths,
The Shadows of Knight,
Buzzcocks,
The Index,
Judy Mowatt,
The Remains,
Lower 48,
Wire,
Glambeats Corp.,
Drexciya,
Zero Boys,
Pere Ubu,
Heaven 17,
Stockholm Monsters,
Tears for Fears,
The Velvet Underground,
Cymande,
Roy Ayers Ubiquity,
Rakim,
Black Flag,
The Peanut Butter Conspiracy,
Johnny Clarke,
Deepchord,
Ralphi Rosario,
Gastr Del Sol,
Mars,
Monks,
Sandy B,
Grandmaster Flash,
UT,
Marvin Gaye,
Suburban Knight,
Barrington Levy,
Bill Wells,
The Associates,
The Motions,
Aural Exciters,
Donny Hathaway,
Television,
Boogie Down Productions,
Oneida,
Rhythim Is Rhythim,
The Star Department,
Howard Jones,
Echospace,
Sexual Harrassment,
Parry Music, Parry Music, Parry Music, Parry Music.
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.