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 United States and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Sao Paulo and Accra.
I'm losing my edge to the art-school Jakarta 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Absolute Body Control to the grime 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 Porter Ricks. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
The Neon Judgement,
Underground Resistance,
Drexciya,
Connie Case,
The Trojans,
Donny Hathaway,
Guru Guru,
The Cowsills,
Soul II Soul,
Sixth Finger,
Dual Sessions,
The Music Machine,
China Crisis,
Spandau Ballet,
Wire,
Wings,
Gastr Del Sol,
Bush Tetras,
Orchestral Manoeuvres in the Dark,
The Techniques,
Drive Like Jehu,
Groovy Waters,
Pere Ubu,
Lyres,
Fear,
The Barracudas,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rapeman,
Lou Reed & Metallica,
Jacques Brel,
Rites of Spring,
Eve St. Jones,
Nico,
Barrington Levy,
Heavy D & The Boyz,
Vainqueur,
Lightning Bolt,
The Cure,
Howard Jones,
Deakin,
The Chocolate Watch Band,
Eric B and Rakim,
Alton Ellis,
Nirvana,
Quadrant,
Juan Atkins,
DNA,
The Flesh Eaters,
Crime,
Scan 7,
Average White Band,
48th St. Collective,
The Blackbyrds,
The Fire Engines,
Lee Hazlewood,
Judy Mowatt,
Brand Nubian,
Fat Boys,
OOIOO,
Nik Kershaw,
Supertramp, Supertramp, Supertramp, Supertramp.
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.