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 Mali and from Portland.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Beijing 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 marimba 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 The Motions to the crunk kids.
I played it at the Astoria.
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 Sugar Minott. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Tim Buckley 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Von Mondo,
UT,
The Slackers,
Yaz,
The Last Poets,
Popol Vuh,
Dual Sessions,
It's A Beautiful Day,
Flash Fearless,
Livin' Joy,
Jacob Miller,
Gang Gang Dance,
Marmalade,
Rufus Thomas,
cv313,
Sun Ra Arkestra,
Eyeless In Gaza,
Rosa Yemen,
Deakin,
James Chance & The Contortions,
Sixth Finger,
The Doors,
Spandau Ballet,
ABBA,
Lou Reed,
Skriet,
Don Cherry,
Heaven 17,
Harpers Bizarre,
X-102,
Pantytec,
The Seeds,
Thompson Twins,
Bush Tetras,
Ajijia Myrayebe,
Motorama,
Kings Of Tomorrow,
KRS-One,
Susan Cadogan,
Liaisons Dangereuses,
Drive Like Jehu,
Public Enemy,
Faust,
Deepchord,
The Monochrome Set,
Fad Gadget,
Erasure,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Mighty Diamonds,
Thee Headcoats,
X-Ray Spex,
Smog,
The Real Kids,
The Golliwogs,
Chrome,
Lou Reed & Metallica,
Archie Shepp,
Notorious Big And Bone Thugs,
Mad Mike,
Peter Gordon & Love of Life Orchestra,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.