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 Ethiopia and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 Manila and Bremen.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Rhythm & Sound to the crunk kids.
I played it at the Troubador.
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 The Busters. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Robert Görl,
Parry Music,
Crime,
Rhythim Is Rhythim,
The Happenings,
Interpol,
Siglo XX,
Johnny Clarke,
Liliput,
Scott Walker,
Roger Hodgson,
The Slits,
Monolake,
David McCallum,
Index,
Rahsaan Roland Kirk,
Carl Craig,
Rapeman,
Sugar Minott,
Jawbox,
The Doobie Brothers,
Pussy Galore,
Cheater Slicks,
Ossler,
Bang on a Can All-Stars,
The Buckinghams,
Brothers Johnson,
Kango’s Stein Massive,
the Sonics,
Malaria!,
the Swans,
The Velvet Underground,
The Searchers,
Leonard Cohen,
Delta 5,
Aloha Tigers,
Aural Exciters,
Stiv Bators,
Bill Near,
Curtis Mayfield,
Charles Mingus,
Second Layer,
Deepchord,
The Alarm Clocks,
The Cosmic Jokers,
Symarip,
Fat Boys,
Kool Moe Dee,
Janne Schatter,
Terror Squad Feat. Camron,
Terrestrial Tones,
Boogie Down Productions,
Spoonie Gee,
The Mojo Men,
AZ,
Johnny Osbourne,
Marine Girls,
Joe Finger,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.