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 Nauru and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 Mistral practice in a loft in Amsterdam.
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 Big Daddy Kane to the funk kids.
I played it at Cafe Wha.
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 Derrick May. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Zapp 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 '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Johnny Clarke,
One Last Wish,
Alphaville,
The Real Kids,
The Jesus and Mary Chain,
The Index,
Stockholm Monsters,
Bauhaus,
Tubeway Army,
Avey Tare,
Pere Ubu,
PIL,
Lou Reed & Metallica,
Lou Reed,
Mad Mike,
Dr. Dre and Snoop Doggy Dog,
Pierre Henry,
David Axelrod,
Scratch Acid,
R.M.O.,
Eric Dolphy,
Underground Resistance,
Dennis Brown,
Liaisons Dangereuses,
Thee Headcoats,
Faust,
Gian Franco Pienzio,
The Vogues,
Alton Ellis,
The Modern Lovers,
Crooked Eye,
The United States of America,
Guru Guru,
Mantronix,
The Flesh Eaters,
Byron Stingily,
Rod Modell,
Ralphi Rosario,
Gang Green,
The Searchers,
Pantaleimon,
Theoretical Girls,
Ten City,
Jacob Miller,
Cybotron,
Nation of Ulysses,
Kango’s Stein Massive,
The Motions,
Sight & Sound,
Kings Of Tomorrow,
Major Organ And The Adding Machine,
The Offenders,
Sunsets and Hearts,
Brass Construction,
The Sonics,
Radio Birdman,
Masters at Work,
Captain Beefheart & His Magic Band,
Ornette Coleman,
Lou Christie,
The Pop Group,
Sly & The Family Stone,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.