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 Vanuatu and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Circle Jerks to the dance kids.
I played it at the Troubador.
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 Kerri Chandler. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal disco 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
The Seeds,
Country Joe & The Fish,
Talk Talk,
Red Lorry Yellow Lorry,
The Blues Magoos,
AZ,
Cal Tjader,
London Community Gospel Choir,
Lalann,
Pagans,
Livin' Joy,
Alphaville,
Barry Ungar,
Essential Logic,
Thee Headcoats,
Scion,
Make Up,
Nick Fraelich,
Bill Near,
Gil Scott-Heron and Jamie xx,
Funkadelic,
Janne Schatter,
The Alarm Clocks,
K-Klass,
Althea and Donna,
Gang Starr,
Dorothy Ashby,
Bootsy Collins,
Tom Boy,
Brothers Johnson,
Gian Franco Pienzio,
Zero Boys,
Magazine,
The Pop Group,
The Durutti Column,
Lebanon Hanover,
Chrome,
The Leaves,
Michelle Simonal,
Rekid,
Eric B and Rakim,
Reagan Youth,
Roy Ayers Ubiquity,
Robert Hood,
Byron Stingily,
Derrick May,
Wally Richardson,
Altered Images,
Delta 5,
Cluster,
Pantaleimon,
Mark Hollis,
Soulsonic Force,
Icehouse,
The Vogues,
Pharoah Sanders,
Frankie Knuckles,
Nick Cave & The Bad Seeds,
Fort Wilson Riot,
Glenn Branca,
Tomorrow,
Morten Harket,
The Motions,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.