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 Austria and from Bologna.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Mary Jane Girls to the rock kids.
I played it at the Crocodile.
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 48th St. Collective. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The Alarm Clocks,
Dennis Brown,
Pierre Henry,
Donny Hathaway,
Roxy Music,
T.S.O.L.,
Siouxsie and the Banshees,
Avey Tare's Slasher Flicks,
Lindisfarne,
Ossler,
Idris Muhammad,
Big Daddy Kane,
Franke,
Make Up,
Fela Kuti,
Reuben Wilson,
Crash Course in Science,
The Fire Engines,
Rosa Yemen,
Black Flag,
Throbbing Gristle,
Tropical Tobacco,
Dave Gahan,
Kauko Röyhkä ja Narttu,
The Velvet Underground,
Tom Boy,
This Heat,
Mars,
David Axelrod,
Ten City,
David Bowie,
Porter Ricks,
Henry Cow,
Gian Franco Pienzio,
Toni Rubio,
Sam Rivers,
Half Japanese,
Bizarre Inc.,
Eric B and Rakim,
The Litter,
Terror Squad Feat. Camron,
Pylon,
T. Rex,
8 Eyed Spy,
Sad Lovers and Giants,
Suicide,
Hasil Adkins,
The Birthday Party,
Monks,
Wally Richardson,
Aaron Thompson,
Das Ding,
Be Bop Deluxe,
Can,
Jesper Dahlback,
Popol Vuh,
New Age Steppers,
the Human League,
Masters at Work,
Index,
The Smiths,
The Slits,
Davy DMX,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.