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 Ethiopia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Edmonton 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 rhodes 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 Leonard Cohen to the rock kids.
I played it at the Roxy.
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 Glenn Branca. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal techno 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Flipper,
The Mojo Men,
Ultra Naté,
the Germs,
The Gladiators,
Saccharine Trust,
Joensuu 1685,
Ralphi Rosario,
The Cowsills,
Archie Shepp,
The Skatalites,
Barrington Levy,
Accadde A,
Amon Düül,
Brass Construction,
Heavy D & The Boyz,
John Holt,
Little Man,
Fatback Band,
Public Enemy,
Beasts of Bourbon,
Unwound,
The Count Five,
Lucky Dragons,
Niagra,
Wasted Youth,
Sonny Sharrock,
Gregory Isaacs,
Piero Umiliani,
Cluster,
The Remains,
The Walker Brothers,
Gichy Dan,
Adolescents,
Neu!,
Suburban Knight,
Mr. Review,
Gary Puckett & The Union Gap,
Harry Pussy,
Pierre Henry,
Bobby Hutcherson,
Crash Course in Science,
Glenn Branca,
The Grass Roots,
Terry Callier,
Procol Harum,
Marmalade,
Be Bop Deluxe,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Womack,
Aural Exciters,
Nico,
The Last Poets,
EPMD,
Make Up,
Avey Tare,
The Motions,
The Mighty Diamonds,
A Certain Ratio,
The Slits,
Subhumans,
London Community Gospel Choir,
Mark Hollis,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.