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 Namibia and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Michael McDonald 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 Kool G Rap & DJ Polo to the rap 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 Livin' Joy. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Isaac Hayes 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 '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Mark Hollis,
Jeff Lynne,
Wings,
Underground Resistance,
Porter Ricks,
Rod Modell,
Be Bop Deluxe,
The American Breed,
The Victims,
D'Angelo,
Von Mondo,
Alphaville,
The Black Dice,
Cameo,
Jerry Gold Smith,
Mandrill,
Q and Not U,
Bobby Sherman,
Mr. Review,
Stockholm Monsters,
Curtis Mayfield,
Unrelated Segments,
the Sonics,
Clear Light,
Smog,
Liliput,
Marcia Griffiths,
The Modern Lovers,
Ajijia Myrayebe,
The Music Machine,
Laurel Aitken,
Flash Fearless,
Minor Threat,
Brothers Johnson,
Anthony Braxton,
Sexual Harrassment,
The Royal Family And The Poor,
Quantec,
Public Enemy,
Oneida,
the Fania All-Stars,
Inner City,
Sällskapet,
Soft Machine,
Little Man,
Vladislav Delay,
Jeru the Damaja,
John Foxx,
The Cure,
Metal Thangz,
Don Cherry,
The Buckinghams,
Saccharine Trust,
Neil Young,
Ultra Naté,
Dark Day,
Byron Stingily,
Isaac Hayes,
Second Layer,
Young Marble Giants,
Michelle Simonal,
R.M.O., R.M.O., R.M.O., R.M.O..
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.