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 Honduras and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Halifax and Madrid.
I'm losing my edge to the art-school Philadelphia 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 Red Lorry Yellow Lorry to the grime 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 Lizzy Mercier Descloux. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
The Sound,
Roy Ayers Ubiquity,
The Selecter,
Fugazi,
James Chance & The Contortions,
Monks,
Agent Orange,
Junior Murvin,
Vladislav Delay,
Pussy Galore,
Peter and Kerry,
Black Moon,
The Alarm Clocks,
Basic Channel,
Supertramp,
Eli Mardock,
Yellowson,
The Monochrome Set,
Spoonie Gee,
The Electric Prunes,
Susan Cadogan,
Ten City,
John Holt,
Howard Jones,
The Gun Club,
Swell Maps,
Notorious BIG live in Amsterdam,
Chrome,
Crooked Eye,
Cameo,
Siouxsie and the Banshees,
Pharaoh Sanders and the Fire Engines,
Todd Rundgren,
The Offenders,
Angry Samoans,
Pantytec,
The Wake,
Erykah Badu,
The Smoke,
Bill Wells,
Röyhkä ja Rättö ja Lehtisalo,
The Slits,
Masters at Work,
Thompson Twins,
The Mummies,
The Barracudas,
Sunsets and Hearts,
The Shadows of Knight,
The Velvet Underground,
Crime,
Bootsy's Rubber Band,
Saccharine Trust,
The Moody Blues,
Kauko Röyhkä ja Narttu,
Nils Olav,
X-101,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.