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 Netherlands and from Edmonton.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Johannesburg 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Little Man to the rap 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 Sexual Harrassment. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Selector Dub Narcotic,
The Monks,
Dennis Brown,
Sun City Girls,
Kas Product,
Tubeway Army,
Bronski Beat,
The Golliwogs,
Shoche,
Andrew Hill,
Major Organ And The Adding Machine,
Althea and Donna,
Nick Fraelich,
Buzzcocks,
Jerry Gold Smith,
Lou Christie,
Severed Heads,
Black Flag,
Reuben Wilson,
Barbara Tucker,
Ronnie Foster,
Lafayette Afro Rock Band,
Gil Scott-Heron & Brian Jackson,
Skriet,
Swans,
Ludus,
Hardrive,
Idris Muhammad,
Cecil Taylor,
The West Coast Pop Art Experimental Band,
Byron Stingily,
DJ Style,
Skarface,
Marmalade,
Cal Tjader,
Newcleus,
Pete Rock & C.L. Smooth,
The Flesh Eaters,
Bobby Byrd,
the Germs,
Eli Mardock,
Q and Not U,
Radiohead,
Lower 48,
Soul Sonic Force,
Grauzone,
D'Angelo,
Camberwell Now,
The J.B.'s,
DeepChord presents Echospace,
the Bar-Kays,
Ice-T,
Ultra Naté,
Sly & The Family Stone,
UT,
Terry Callier,
The Zeros,
Oblivians, Oblivians, Oblivians, Oblivians.
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.