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 Iraq and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Accra 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 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 The Red Krayola to the rock 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 Gregory Isaacs. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Excepter,
Kauko Röyhkä ja Narttu,
Jeru the Damaja,
Howard Jones,
the Bar-Kays,
Marshall Jefferson,
A Certain Ratio,
Barry Ungar,
Jeff Mills,
Blancmange,
Outsiders,
Model 500,
Gastr Del Sol,
New York Dolls,
the Germs,
Monks,
Index,
Scrapy,
Khruangbin,
Letta Mbulu,
Roxette,
The Tremeloes,
Second Layer,
Skaos,
The Toasters,
the Association,
X-101,
Eric B and Rakim,
Alice Coltrane,
Man Parrish,
Joensuu 1685,
Marcia Griffiths,
Section 25,
John Coltrane,
Donny Hathaway,
Gong,
Avey Tare,
Main Source,
Sexual Harrassment,
Ronnie Foster,
Eurythmics,
Gregory Isaacs,
Boogie Down Productions,
David McCallum,
Black Pus,
Fugazi,
The Dead C,
Brick,
Iggy Pop,
The Birthday Party,
Aswad,
Kool Moe Dee,
Eden Ahbez,
Davy DMX,
New Age Steppers,
Archie Shepp,
Pet Shop Boys,
Roy Ayers Ubiquity,
Soul Sonic Force,
Marmalade,
Althea and Donna,
Public Image Ltd.,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.