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 France and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Jakarta 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 oboe 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 Gil Scott-Heron and Jamie xx to the electroclash kids.
I played it at Trash.
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 Mr. Review. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Grauzone 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Move 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?
Kool G Rap & DJ Polo,
Nico,
Bill Near,
Lafayette Afro Rock Band,
Bootsy Collins,
Reagan Youth,
Mantronix,
The Angels of Light,
Eurythmics,
One Last Wish,
Lizzy Mercier Descloux,
Lalann,
Deadbeat,
Monks,
The Pop Group,
Unwound,
Minor Threat,
Magma,
Jerry's Kids,
Aswad,
cv313,
Colin Newman,
Jesper Dahlbäck,
Bluetip,
The Jesus and Mary Chain,
Yaz,
A Certain Ratio,
Silicon Teens,
Vladislav Delay,
Banda Bassotti,
Metal Thangz,
The Durutti Column,
Eyeless In Gaza,
Soft Cell,
The Moleskins,
This Heat,
Strawberry Alarm Clock,
Gang Gang Dance,
Bobby Womack,
Nation of Ulysses,
Kauko Röyhkä ja Narttu,
Outsiders,
The Trojans,
Motorama,
10cc,
The Real Kids,
Peter Gordon & Love of Life Orchestra,
Kayak,
Moby Grape,
Rod Modell,
Harpers Bizarre,
Mars,
The Red Krayola,
Soul II Soul,
E-Dancer,
the Sonics,
Pierre Henry,
Roy Ayers,
Ohio Players,
Sight & Sound,
Chrome,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.