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 Brunei and from Tehran.
But I was there.
I was there in .
I was there at the first Suicide 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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and London.
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 Zapp practice in a loft in Hamilton.
I was working on the sitar 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 Radiohead to the dance kids.
I played it at the Crocodile.
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 Amazonics. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Neon Judgement 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 '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Archie Shepp,
Fugazi,
Minny Pops,
Ultravox,
Man Parrish,
In Retrospect,
Aural Exciters,
Marcia Griffiths,
Charles Mingus,
Arthur Verocai,
New Age Steppers,
Red Lorry Yellow Lorry,
Qualms,
Sun City Girls,
Bob Dylan,
Letta Mbulu,
Sex Pistols,
The Kinks,
Lafayette Afro Rock Band,
The West Coast Pop Art Experimental Band,
The Cosmic Jokers,
Sandy B,
Kool G Rap & DJ Polo,
Adolescents,
Mr. Review,
Second Layer,
Vladislav Delay,
Sonny Sharrock,
Big Daddy Kane,
Black Pus,
Joey Negro,
The Happenings,
Judy Mowatt,
Warsaw,
Marmalade,
Public Image Ltd.,
Technova,
DeepChord presents Echospace,
Cybotron,
The Men They Couldn't Hang,
The Barracudas,
Eric B and Rakim,
Black Bananas,
Country Teasers,
Main Source,
Brick,
Cabaret Voltaire,
Fear,
Rakim,
Altered Images,
Todd Rundgren,
Sällskapet,
Parry Music,
Amon Düül II,
Kerrie Biddell,
Deakin,
Chris & Cosey,
Wire,
Index,
The Motions,
Roxette, Roxette, Roxette, Roxette.
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.