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 Brunei and from Lagos.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Columbus 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare 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 Ultra Naté to the funk kids.
I played it at the Astoria.
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 Jerry Gold Smith. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Visage,
Yellowson,
Robert Görl,
Suburban Knight,
Delon & Dalcan,
The Kinks,
Excepter,
Richard Hell and the Voidoids,
Hashim,
Gichy Dan,
Cameo,
Bang On A Can,
Sly & The Family Stone,
K-Klass,
Pet Shop Boys,
MDC,
Little Man,
Magazine,
Kool Moe Dee,
Massinfluence,
Rowland S Howard / Lydia Lunch,
Warsaw,
Freddie Wadling,
Cheater Slicks,
Ronnie Foster,
Roxette,
a-ha,
Qualms,
Barry Ungar,
Section 25,
Eli Mardock,
Robert Wyatt,
Larry & the Blue Notes,
The Buckinghams,
Public Image Ltd.,
The Misunderstood,
Amon Düül II,
Marine Girls,
Lungfish,
Oppenheimer Analysis,
Connie Case,
The Cramps,
The Young Rascals,
The Royal Family And The Poor,
Bad Manners,
Icehouse,
The Monochrome Set,
Stereo Dub,
Ice-T,
Metal Thangz,
Röyhkä ja Rättö ja Lehtisalo,
Aaron Thompson,
Eurythmics,
Fugazi,
Louis and Bebe Barron,
Maleditus Sound,
Groovy Waters,
The Sound,
Amon Düül,
Barbara Tucker,
Sarah Menescal,
Ronan, Ronan, Ronan, Ronan.
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.