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 St Lucia and from Paris.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Lagos 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 marimba 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 Absolute Body Control to the funk 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 Brothers Johnson. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Tears for Fears 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The Slackers,
E-Dancer,
Sly & The Family Stone,
Röyhkä ja Rättö ja Lehtisalo,
Dorothy Ashby,
Amon Düül II,
Nils Olav,
Dead Boys,
Kauko Röyhkä ja Narttu,
Oblivians,
Maurizio,
The Beau Brummels,
The Victims,
Bill Wells,
Wire,
The Gap Band,
Hashim,
The Sonics,
Man Parrish,
Section 25,
OOIOO,
Max Romeo,
Richard Hell and the Voidoids,
The Modern Lovers,
Anthony Braxton,
Notorious BIG live in Amsterdam,
The Barracudas,
Thee Headcoats,
Anakelly,
X-101,
Essential Logic,
Peter & Gordon,
Neil Young & Crazy Horse,
Bootsy's Rubber Band,
Eddi Front,
Siglo XX,
Visionaries,LMNO, T- Love & Iriscience,
Yaz,
The Music Machine,
the Association,
David Axelrod,
Ken Boothe,
The Blackbyrds,
K-Klass,
Minnie Riperton,
Con Funk Shun,
Motorama,
Surgeon,
The Techniques,
The Gories,
Isaac Hayes,
Lou Reed & John Cale,
Soft Machine,
Johnny Clarke,
Don Cherry,
It's A Beautiful Day,
Y Pants,
Joensuu 1685,
Glenn Branca,
Quadrant,
Index, Index, Index, Index.
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.