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 Finland and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Houston and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Man Eating Sloth to the grunge kids.
I played it at the Roxy.
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 Faraquet. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
EPMD,
Lee Hazlewood,
Main Source,
Joe Smooth,
Bootsy Collins,
Isaac Hayes,
Carl Craig,
Dennis Brown,
Roxy Music,
Inner City,
R.M.O.,
Aloha Tigers,
The Fortunes,
Frankie Knuckles,
Bootsy's Rubber Band,
Art Ensemble Of Chicago,
LL Cool J,
Fluxion,
Duran Duran,
La Düsseldorf,
Sex Pistols,
Mary Jane Girls,
Average White Band,
the Association,
Michelle Simonal,
The Dave Clark Five,
Monks,
Flipper,
Moebius,
Wally Richardson,
Zapp,
DeepChord presents Echospace,
Terror Squad Feat. Camron,
Freddie Wadling,
The Mojo Men,
Peter and Kerry,
T.S.O.L.,
Pete Rock & C.L. Smooth,
Pole,
Minny Pops,
Organ,
Bob Dylan,
The Cramps,
Gang of Four,
Scrapy,
Patti Smith,
Todd Rundgren,
The Walker Brothers,
Judy Mowatt,
Aural Exciters,
H. Thieme,
a-ha,
Schoolly D,
Fat Boys,
Fear,
Faraquet,
Ultimate Spinach,
Grey Daturas,
Ponytail,
Mo-Dettes,
John Holt, John Holt, John Holt, John Holt.
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.