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 Liberia and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Doobie Brothers to the crunk 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin 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 harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Kas Product,
Blancmange,
Notorious Big And Bone Thugs,
The Stooges,
Drive Like Jehu,
Sam Rivers,
Man Eating Sloth,
Popol Vuh,
Symarip,
The J.B.'s,
Justin Hinds & The Dominoes,
Art Ensemble Of Chicago,
Heavy D & The Boyz,
John Lydon,
Bauhaus,
Deadbeat,
Lungfish,
Gerry Rafferty,
The Doobie Brothers,
The Blackbyrds,
Mandrill,
Juan Atkins,
De La Soul & Jungle Brothers,
The Golliwogs,
Lee Hazlewood,
Dawn Penn,
Big Daddy Kane,
Underground Resistance,
Henry Cow,
Scrapy,
Althea and Donna,
Jeru the Damaja,
Leonard Cohen,
Be Bop Deluxe,
Sandy B,
Super Lover Cee & Casanova Rud,
Al Stewart,
Crash Course in Science,
Sister Nancy,
The Skatalites,
Niagra,
The Motions,
The Young Rascals,
Nik Kershaw,
The Beau Brummels,
Tropical Tobacco,
Guru Guru,
Hot Snakes,
Ultramagnetic MC's,
Arcadia,
Bill Wells,
Ice-T,
Kurtis Blow,
Lafayette Afro Rock Band,
Pet Shop Boys,
Ten City,
Public Image Ltd.,
Nils Olav,
Tears for Fears,
Johnny Clarke,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.