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 Chile and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Salvador.
I'm losing my edge to the art-school Mexico City 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 the Fania All-Stars to the jazz 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 Vaughan Mason & Crew. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Gregory Isaacs,
Lebanon Hanover,
Stetsasonic,
Hashim,
Wighnomy Brothers & Robag Wruhme,
Scott Walker,
Aaron Thompson,
Circle Jerks,
Funky Four + One,
Black Pus,
Intrusion,
PIL,
Lonnie Liston Smith,
Kerri Chandler,
Section 25,
Black Sheep,
Parry Music,
The Young Rascals,
Alphaville,
The Offenders,
Swans,
Rakim,
The Invisible,
Todd Terry,
Delta 5,
the Normal,
The Moody Blues,
Cameo,
Barclay James Harvest,
Blancmange,
Sandy B,
The Evens,
Chris Corsano,
The Kinks,
Radiopuhelimet,
In Retrospect,
Colin Newman,
Sugar Minott,
Kerrie Biddell,
Cabaret Voltaire,
The Standells,
Art Ensemble Of Chicago,
Ohio Players,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Saccharine Trust,
Groovy Waters,
Howard Jones,
Flipper,
Janne Schatter,
Godley & Creme,
The Barracudas,
Albert Ayler,
Tubeway Army,
Gil Scott Heron,
Reagan Youth,
Robert Wyatt,
The Beau Brummels,
Shuggie Otis,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.