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 Mozambique and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
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 güiro 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 Ultra Naté to the jazz kids.
I played it at CBGB's.
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 Hardrive. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Skaos,
Delon & Dalcan,
Junior Murvin,
Jacques Brel,
Kauko Röyhkä ja Narttu,
The Detroit Cobras,
The Doors,
The Busters,
Deutsch Amerikanische Freundschaft,
The Litter,
Little Man,
Notorious Big And Bone Thugs,
Gerry Rafferty,
The Zeros,
Lyres,
Siouxsie and the Banshees,
Bill Wells,
Heavy D & The Boyz,
Joe Finger,
Connie Case,
Grauzone,
The Offenders,
the Soft Cell,
Vainqueur,
Rosa Yemen,
Country Teasers,
Intrusion,
Eyeless In Gaza,
Jesper Dahlback,
Morten Harket,
Gian Franco Pienzio,
Stereo Dub,
Magazine,
Minnie Riperton,
Sister Nancy,
Terrestrial Tones,
Darondo,
Joey Negro,
Crash Course in Science,
The Birthday Party,
Avey Tare,
The United States of America,
Mr. Review,
Loose Ends,
Vladislav Delay,
Cameo,
Soulsonic Force,
Stiv Bators,
Bob Dylan,
Judy Mowatt,
Kas Product,
Terror Squad Feat. Camron,
Justin Hinds & The Dominoes,
Parry Music,
Blake Baxter,
Sonny Sharrock,
Oppenheimer Analysis,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Toni Rubio,
The Real Kids,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.