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 Oman and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Manila 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 Model 500 to the funk kids.
I played it at CBGB's.
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 Black Pus. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Derrick May 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
John Coltrane,
Zapp,
Porter Ricks,
Ultimate Spinach,
The Knickerbockers,
The Moody Blues,
Pantytec,
Ohio Players,
Stockholm Monsters,
Ornette Coleman,
Scrapy,
Black Bananas,
Gregory Isaacs,
Pete Rock & C.L. Smooth,
Sun Ra Arkestra,
Kool G Rap & DJ Polo,
Teenage Jesus and the Jerks,
Lee Hazlewood,
Oppenheimer Analysis,
Maleditus Sound,
Parry Music,
Dennis Brown,
Ajijia Myrayebe,
Grandmaster Flash,
Man Eating Sloth,
Vaughan Mason & Crew,
Technova,
Delta 5,
Audionom,
Sonny Sharrock,
Johnny Clarke,
Tres Demented,
Roxette,
L. Decosne,
World's Most,
Archie Shepp,
The Grass Roots,
Amon Düül,
Piero Umiliani,
The Kinks,
Zero Boys,
Echospace,
Moby Grape,
Interpol,
Tomorrow,
Fat Boys,
Ken Boothe,
B.T. Express,
Siouxsie and the Banshees,
The Doors,
Lou Christie,
Gang Green,
Barry Ungar,
Skriet,
Kaleidoscope,
Jesper Dahlbäck,
James White and The Blacks,
Flamin' Groovies,
Minutemen,
Joey Negro,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.