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 New Zealand and from Stockholm.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Accadde A to the electroclash kids.
I played it at Cafe Wha.
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 The Red Krayola. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Das Ding 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 '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Jeff Mills,
Boogie Down Productions,
Bobby Hutcherson,
The Smoke,
Jesper Dahlbäck,
Archie Shepp,
Toni Rubio,
Intrusion,
Roxette,
The Gap Band,
Tears for Fears,
the Fania All-Stars,
Drexciya,
The Pop Group,
Rotary Connection,
The Beau Brummels,
Robert Görl,
Lyres,
Con Funk Shun,
Glenn Branca,
Motorama,
Parry Music,
Liliput,
Camouflage,
Dr. Dre and Snoop Doggy Dog,
Derrick Morgan,
The Music Machine,
Nick Fraelich,
The Neon Judgement,
Michelle Simonal,
Guru Guru,
Main Source,
8 Eyed Spy,
Scan 7,
Soulsonic Force,
Rosa Yemen,
Gian Franco Pienzio,
London Community Gospel Choir,
Howard Jones,
Schoolly D,
Oppenheimer Analysis,
Gregory Isaacs,
the Association,
Kings Of Tomorrow,
Funky Four + One,
Kool Moe Dee,
Jesper Dahlback,
Ash Ra Tempel,
Nirvana,
Ralphi Rosario,
Joyce Sims,
The Litter,
Dennis Brown,
Major Organ And The Adding Machine,
Boredoms,
The Red Krayola,
B.T. Express,
Fear,
Cameo,
Byron Stingily,
Ken Boothe,
The Gories,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.