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 Sudan and from Manchester.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Glasgow 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Harmonia to the crunk 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 Barbara Tucker. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Nils Olav,
The Kinks,
Brand Nubian,
Letta Mbulu,
The Techniques,
The Five Americans,
MC5,
The Velvet Underground,
Swans,
Harry Pussy,
London Community Gospel Choir,
Joensuu 1685,
Boredoms,
Lyres,
The Real Kids,
Hardrive,
ABC,
Soul II Soul,
Albert Ayler,
Silicon Teens,
PIL,
Kango’s Stein Massive,
Kerrie Biddell,
Echospace,
Sun Ra,
Shuggie Otis,
Lucky Dragons,
The Music Machine,
Judy Mowatt,
Deutsch Amerikanische Freundschaft,
Moss Icon,
Captain Beefheart & His Magic Band,
Banda Bassotti,
Jerry's Kids,
Lafayette Afro Rock Band,
Lou Christie,
Eden Ahbez,
Ultravox,
Lower 48,
Reagan Youth,
Gary Puckett & The Union Gap,
The Fuzztones,
Hoover,
Arab on Radar,
These Immortal Souls,
Soft Machine,
Lou Reed,
Radiopuhelimet,
H. Thieme,
Bill Wells,
Ralphi Rosario,
Lizzy Mercier Descloux,
Glenn Branca,
The Detroit Cobras,
Zero Boys,
Slave,
David McCallum,
Bobby Sherman,
the Association,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.