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 Botswana and from Milan.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Cairo 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 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 Clear Light 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 Todd Terry. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every AZ 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 '80s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
John Coltrane,
Warren Ellis,
Faraquet,
Joensuu 1685,
Smog,
The Cowsills,
Josef K,
Spandau Ballet,
Minnie Riperton,
Barrington Levy,
Curtis Mayfield,
The Motions,
Bauhaus,
Von Mondo,
Inner City,
The Gap Band,
Underground Resistance,
Kool Moe Dee,
Das Ding,
LL Cool J,
Joe Finger,
Danielle Patucci,
Blake Baxter,
Harry Pussy,
Gastr Del Sol,
Gabor Szabo,
the Bar-Kays,
Roy Ayers Ubiquity,
Patti Smith,
Aural Exciters,
Sugar Minott,
Arcadia,
Crooked Eye,
The J.B.'s,
Bobbi Humphrey,
Be Bop Deluxe,
Parry Music,
the Human League,
Crime,
Sun Ra Arkestra,
Glambeats Corp.,
The Standells,
Alice Coltrane,
Lungfish,
Gang of Four,
Joyce Sims,
Zero Boys,
OOIOO,
The Sisters of Mercy,
The Move,
Sonny Sharrock,
The Dave Clark Five,
Bush Tetras,
The Dead C,
Sticky Fingaz feat. Raekwon,
E-Dancer,
Stockholm Monsters,
Peter and Kerry,
Avey Tare's Slasher Flicks,
Angry Samoans,
The Cure,
Sun City Girls,
Dead Boys,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.