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 Guatemala and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Tehran and Tokyo.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 A Certain Ratio to the rap 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 June Days. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Vladislav Delay,
Bill Near,
Theoretical Girls,
Rosa Yemen,
Jacques Brel,
PIL,
Girls At Our Best!,
Hashim,
Black Sheep,
Joyce Sims,
Clear Light,
Scion,
Bad Manners,
Eurythmics,
Orchestral Manoeuvres in the Dark,
London Community Gospel Choir,
World's Most,
Panda Bear,
Hoover,
Stetsasonic,
Prince Buster,
Max Romeo,
Reagan Youth,
Sonny Sharrock,
48th St. Collective,
Silicon Teens,
Soft Machine,
The Skatalites,
Scratch Acid,
Rufus Thomas,
Terry Callier,
Can,
The Blackbyrds,
The Mojo Men,
Dawn Penn,
Easy Going,
Be Bop Deluxe,
Little Man,
Stereo Dub,
Grandmaster Flash and the Furious Five,
Banda Bassotti,
Crooked Eye,
The Sound,
Blake Baxter,
Tropical Tobacco,
Wings,
Marshall Jefferson,
Brick,
Notorious Big And Bone Thugs,
The Alarm Clocks,
Bush Tetras,
Art Ensemble Of Chicago,
The Vogues,
Pylon,
The Last Poets,
Robert Hood,
Bobby Byrd,
Ken Boothe,
The Dead C,
the Human League,
Technova,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.