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 Switzerland and from Calgary.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1977.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Salvador 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Marine Girls to the crunk 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 Cal Tjader. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Lafayette Afro Rock Band record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Vaughan Mason & Crew,
Jesper Dahlbäck,
James White and The Blacks,
Barry Ungar,
Blossom Toes,
World's Most,
Moss Icon,
The Cosmic Jokers,
Hot Snakes,
The Monks,
E-Dancer,
Deepchord,
The Sonics,
Cymande,
Severed Heads,
Robert Wyatt,
Harry Pussy,
Robert Hood,
Jerry Gold Smith,
Gang of Four,
Kool G Rap & DJ Polo,
In Retrospect,
Bauhaus,
Toni Rubio,
Shuggie Otis,
Ronan,
Bootsy Collins,
Chris & Cosey,
Rapeman,
Sparks,
Tom Boy,
The Invisible,
Duran Duran,
Cluster,
Glambeats Corp.,
N.O.R.E. Featuring Pharrell,
Graham Central Station,
Can,
Andrew Ashong & Theo Parrish,
Thee Headcoats,
Hashim,
Tres Demented,
Country Teasers,
Chris Corsano,
Fad Gadget,
Public Image Ltd.,
the Human League,
Section 25,
Brand Nubian,
Jacob Miller,
Danielle Patucci,
Schoolly D,
Maleditus Sound,
Pagans,
Derrick Morgan,
Blake Baxter,
Sandy B,
Kings Of Tomorrow,
Country Joe & The Fish,
Franke,
Supertramp,
Bootsy's Rubber Band,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.