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 Fiji and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Columbus and Paris.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Avey Tare's Slasher Flicks to the crunk 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 Cymande. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
The Tremeloes,
Young Marble Giants,
Grandmaster Flash,
Tres Demented,
The Music Machine,
KRS-One,
Boredoms,
FM Einheit,
Bobby Womack,
DNA,
Simply Red,
Clear Light,
MC5,
Avey Tare's Slasher Flicks,
The Modern Lovers,
the Fania All-Stars,
Liaisons Dangereuses,
Lebanon Hanover,
Sun Ra Arkestra,
EPMD,
June Days,
LL Cool J,
Pharaoh Sanders and the Fire Engines,
Unrelated Segments,
Alphaville,
Barbara Tucker,
The Motions,
Brick,
48th St. Collective,
Popol Vuh,
Wasted Youth,
The Cure,
Dave Gahan,
This Heat,
Barclay James Harvest,
Notorious Big And Bone Thugs,
The Mojo Men,
a-ha,
The Raincoats,
Darondo,
The Men They Couldn't Hang,
Pantytec,
Lonnie Liston Smith,
Yusef Lateef,
Mary Jane Girls,
Suburban Knight,
Sugar Minott,
The Gladiators,
The Buckinghams,
Lower 48,
Soulsonic Force,
E-Dancer,
Aswad,
Joe Smooth,
The Litter,
Country Teasers,
Johnny Clarke,
Babytalk,
Public Enemy,
Röyhkä ja Rättö ja Lehtisalo,
Von Mondo,
Hot Snakes,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.