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 Senegal and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Kango’s Stein Massive to the punk 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 Dawn Penn. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal rock 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
DNA,
Bill Wells,
Neil Young & Crazy Horse,
Teenage Jesus and the Jerks,
Byron Stingily,
Super Lover Cee & Casanova Rud,
In Retrospect,
Joensuu 1685,
Soulsonic Force,
Funkadelic,
Colin Newman,
The Smiths,
Faraquet,
Stetsasonic,
The J.B.'s,
Marcia Griffiths,
Rekid,
The Electric Prunes,
Ultramagnetic MC's,
Ornette Coleman,
Kerrie Biddell,
Marshall Jefferson,
Au Pairs,
Curtis Mayfield,
Eyeless In Gaza,
Can,
Hot Snakes,
Alice Coltrane,
Little Man,
Charles Mingus,
8 Eyed Spy,
Vaughan Mason & Crew,
Sight & Sound,
MDC,
It's A Beautiful Day,
T.S.O.L.,
Notorious Big And Bone Thugs,
Slick Rick,
B.T. Express,
Deutsch Amerikanische Freundschaft,
Graham Central Station,
Amon Düül II,
Maurizio,
Public Enemy,
Infiniti,
Porter Ricks,
Gang of Four,
Country Joe & The Fish,
The Detroit Cobras,
Kool G Rap & DJ Polo,
Gang Green,
The Smoke,
the Sonics,
John Lydon,
Bootsy's Rubber Band,
Crispy Ambulance,
Bobby Hutcherson,
Magazine,
Monolake,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.