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 Madagascar and from Hong Kong.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Toronto 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 arpeggiator 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 Rod Modell to the rap kids.
I played it at the Hacienda.
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 Tommy Roe. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Barbara Tucker,
Nas,
Rites of Spring,
Art Ensemble Of Chicago,
Brass Construction,
Faraquet,
Crispian St. Peters,
Monks,
Slave,
Aswad,
Stereo Dub,
Ohio Players,
Crispy Ambulance,
Robert Hood,
Subhumans,
Absolute Body Control,
China Crisis,
Orchestral Manoeuvres in the Dark,
Bill Wells,
Soft Machine,
Excepter,
Ken Boothe,
The J.B.'s,
Iggy Pop,
Brand Nubian,
Ice-T,
Eric B and Rakim,
Peter & Gordon,
Nick Fraelich,
Roy Ayers Ubiquity,
The Human League,
Be Bop Deluxe,
Ornette Coleman,
Notorious BIG live in Amsterdam,
Scratch Acid,
Kool G Rap & DJ Polo,
Patti Smith,
New Order,
The Dead C,
Siglo XX,
Derrick Morgan,
Moby Grape,
David Axelrod,
Public Enemy,
The Star Department,
Sugar Minott,
Eli Mardock,
Japan,
Kenny Larkin,
Deepchord,
Arthur Verocai,
Amon Düül,
Harry Pussy,
Sparks,
Gang Gang Dance,
Scientists,
Soul II Soul,
Alphaville,
Marshall Jefferson,
Dennis Brown,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.