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 Finland and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when David Bowie 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 Oblivians to the dance kids.
I played it at CBGB's.
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 Jeru the Damaja. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Japan,
Audionom,
OOIOO,
Lou Christie,
The Leaves,
Theoretical Girls,
Alison Limerick,
Flipper,
The Skatalites,
The Chocolate Watch Band,
Shoche,
Idris Muhammad,
Technova,
Selector Dub Narcotic,
Siouxsie and the Banshees,
Dorothy Ashby,
Terrestrial Tones,
Frankie Knuckles,
Grandmaster Flash,
Alton Ellis,
Marvin Gaye,
The Durutti Column,
China Crisis,
Be Bop Deluxe,
Susan Cadogan,
Echo & the Bunnymen,
Sex Pistols,
Sunsets and Hearts,
Bizarre Inc.,
The Toasters,
Mission of Burma,
Dual Sessions,
Harry Pussy,
Hashim,
Bush Tetras,
The Modern Lovers,
the Swans,
Soft Machine,
Pulsallama,
the Germs,
Robert Hood,
Rotary Connection,
Essential Logic,
Schoolly D,
In Retrospect,
DJ Sneak,
Ajijia Myrayebe,
Kenny Larkin,
Eve St. Jones,
Angry Samoans,
The Angels of Light,
Country Joe & The Fish,
Masters at Work,
Camberwell Now,
Boogie Down Productions,
Patti Smith,
Make Up,
Sad Lovers and Giants,
Nick Fraelich,
Altered Images,
Urselle,
The Evens,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.