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 the UAE and from Manila.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Toronto 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 808 sounds with much patience.
I was there when Michael McDonald 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 Donald Byrd to the grime kids.
I played it at Trash.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Deakin,
Lower 48,
Dennis Brown,
Stiv Bators,
Todd Terry,
The United States of America,
Buzzcocks,
Art Ensemble Of Chicago,
Scott Walker + Sunn O))),
Theoretical Girls,
Gastr Del Sol,
DNA,
Leonard Cohen,
PIL,
Alison Limerick,
Alice Coltrane,
Lizzy Mercier Descloux,
Mad Mike,
Dead Boys,
Eve St. Jones,
Faraquet,
Glenn Branca,
Junior Murvin,
Stockholm Monsters,
Derrick Morgan,
Masters at Work,
Dark Day,
T.S.O.L.,
Girls At Our Best!,
The Jesus and Mary Chain,
The Cosmic Jokers,
Curtis Mayfield,
The Barracudas,
The Dead C,
The Chocolate Watch Band,
Barclay James Harvest,
ABBA,
Ice-T,
Nik Kershaw,
The Invisible,
Faust,
The Fall,
Deutsch Amerikanische Freundschaft,
Angry Samoans,
The Black Dice,
Laurel Aitken,
Swell Maps,
cv313,
Ituana,
Oneida,
The Skatalites,
Saccharine Trust,
Country Joe & The Fish,
Al Stewart,
Khruangbin,
CMW,
Gary Puckett & The Union Gap,
Cabaret Voltaire,
La Düsseldorf,
Vainqueur,
The Men They Couldn't Hang,
Jacques Brel,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.