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 Rwanda and from Toronto.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school New York 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Bobby Womack to the jazz kids.
I played it at the Spitz.
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 Peter & Gordon. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Arthur Verocai,
Absolute Body Control,
Cymande,
Flamin' Groovies,
Camron Feat. Jay Z And Juelz,
The United States of America,
Jawbox,
Gong,
Bootsy's Rubber Band,
Aloha Tigers,
The Walker Brothers,
Barrington Levy,
Warren Ellis,
Goldenarms,
The Flesh Eaters,
Lafayette Afro Rock Band,
Echospace,
Gil Scott-Heron and Jamie xx,
Alice Coltrane,
Arab on Radar,
Jeru the Damaja,
Tommy Roe,
Massinfluence,
Public Image Ltd.,
Andrew Hill,
The Beau Brummels,
Deakin,
Q and Not U,
Eli Mardock,
Basic Channel,
Yazoo,
Frankie Knuckles,
Guru Guru,
The Standells,
Monks,
Hot Snakes,
Steve Hackett,
Blossom Toes,
Public Enemy,
The Fortunes,
MDC,
Altered Images,
The Electric Prunes,
David McCallum,
Lou Reed,
Stereo Dub,
Dorothy Ashby,
Marcia Griffiths,
Lee Hazlewood,
New York Dolls,
Bang On A Can,
Mo-Dettes,
KRS-One,
Lyres,
The Gories,
These Immortal Souls,
OOIOO,
Essential Logic,
Avey Tare's Slasher Flicks,
Grandmaster Flash and the Furious Five,
Yusef Lateef,
This Heat, This Heat, This Heat, This Heat.
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.