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 Kenya and from Salvador.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Manchester 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 Zapp practice in a loft in Hamilton.
I was working on the snare sounds with much patience.
I was there when Nile Rodgers 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 Tomorrow to the disco kids.
I played it at the Spitz.
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 Pere Ubu. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Traffic Nightmare,
Pierre Henry,
Loose Ends,
Easy Going,
Avey Tare,
Kayak,
Magazine,
The Pop Group,
Swell Maps,
Brand Nubian,
Young Marble Giants,
Ralphi Rosario,
Black Bananas,
Q65,
Kings Of Tomorrow,
Parry Music,
Minnie Riperton,
Hashim,
Altered Images,
a-ha,
Radiohead,
Bad Manners,
Maleditus Sound,
Sarah Menescal,
Janne Schatter,
Amon Düül II,
Procol Harum,
The Fugs,
Schoolly D,
Skaos,
X-102,
Stereo Dub,
Drexciya,
Radio Birdman,
Warsaw,
Pulsallama,
The Litter,
Trumans Water,
Negative Approach,
The Blues Magoos,
The Electric Prunes,
Fat Boys,
Kool G Rap & DJ Polo,
Liliput,
Crispian St. Peters,
Half Japanese,
Lalo Schifrin,
Terry Callier,
Crispy Ambulance,
Ultra Naté,
Liaisons Dangereuses,
Yazoo,
Fela Kuti,
Scrapy,
The Selecter,
Bush Tetras,
Eden Ahbez,
Sixth Finger,
New York Dolls,
Sun Ra Arkestra,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.