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 Gabon and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Jakarta 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Eric B and Rakim to the dance kids.
I played it at the Hacienda.
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 Harpers Bizarre. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Surgeon,
Lower 48,
Pharaoh Sanders and the Fire Engines,
Porter Ricks,
Pete Rock & C.L. Smooth,
The Pop Group,
Funkadelic,
Lakeside,
Ronan,
The Toasters,
10cc,
T. Rex,
The United States of America,
Accadde A,
Visionaries,LMNO, T- Love & Iriscience,
Duran Duran,
Reuben Wilson,
Alton Ellis,
Niagra,
New York Dolls,
Young Marble Giants,
Gil Scott-Heron and Jamie xx,
The Blues Magoos,
Marshall Jefferson,
Bobby Byrd,
Delon & Dalcan,
Major Organ And The Adding Machine,
Howard Jones,
Newcleus,
Groovy Waters,
Kurtis Blow,
Silicon Teens,
Das Ding,
EPMD,
Röyhkä ja Rättö ja Lehtisalo,
X-Ray Spex,
Thompson Twins,
Sex Pistols,
Toni Rubio,
Arab on Radar,
The Standells,
The Dirtbombs,
Qualms,
Kevin Saunderson,
Soulsonic Force,
Barrington Levy,
Scientists,
Peter Gordon & Love of Life Orchestra,
Moss Icon,
The Victims,
Skriet,
Echospace,
Spoonie Gee,
The West Coast Pop Art Experimental Band,
Desert Stars,
Black Flag,
Kings Of Tomorrow,
Fugazi,
Swell Maps,
Matthew Halsall,
Royal Trux,
the Slits,
Kool Moe Dee,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.