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 Dominican Republic and from Spokane.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 güiro sounds with much patience.
I was there when Lou Reed 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 Velvet Underground to the rock kids.
I played it at the Crocodile.
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 Bobby Womack. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Jeff Mills 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Nation of Ulysses,
The Techniques,
Boogie Down Productions,
Hoover,
Sister Nancy,
Harpers Bizarre,
Radio Birdman,
Adolescents,
The Music Machine,
Procol Harum,
B.T. Express,
The Slits,
X-Ray Spex,
Yusef Lateef,
Peter & Gordon,
Qualms,
Swans,
Danielle Patucci,
Brick,
Richard Hell and the Voidoids,
The Invisible,
Pharoah Sanders,
Rites of Spring,
De La Soul & Jungle Brothers,
The Smiths,
Black Sheep,
Newcleus,
Albert Ayler,
Liliput,
Lou Reed & John Cale,
The Happenings,
Hashim,
Brass Construction,
The New Christs,
Gil Scott-Heron and Jamie xx,
Black Moon,
Skaos,
Joy Division,
Das Ding,
CMW,
Hot Snakes,
Gang Starr,
The Divine Comedy,
The Fire Engines,
David McCallum,
Icehouse,
Eric B and Rakim,
Wolf Eyes,
The Mummies,
The West Coast Pop Art Experimental Band,
Maleditus Sound,
Make Up,
The Tremeloes,
Robert Görl,
Cymande,
Ken Boothe,
Terror Squad Feat. Camron,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.