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 Senegal and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Manila 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Spandau Ballet to the electroclash 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 New Age Steppers. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Kenny Larkin,
Echo & the Bunnymen,
The Modern Lovers,
John Holt,
Wire,
Nas,
Sun Ra,
Eurythmics,
Freddie Wadling,
Rufus Thomas,
Deadbeat,
Buzzcocks,
Parry Music,
Marshall Jefferson,
Alison Limerick,
Pharaoh Sanders and the Fire Engines,
Second Layer,
Notorious BIG live in Amsterdam,
The Gladiators,
Gil Scott-Heron & Brian Jackson,
Animal Collective,
The Kinks,
Banda Bassotti,
Dark Day,
Blancmange,
E-Dancer,
The Doors,
H. Thieme,
Danielle Patucci,
Scientists,
New Age Steppers,
Iggy Pop,
Mad Mike,
Man Parrish,
John Foxx,
Lyres,
Amon Düül,
Matthew Halsall,
Sad Lovers and Giants,
The Knickerbockers,
Bluetip,
Rakim,
Robert Hood,
Derrick May,
Sight & Sound,
Rapeman,
Lizzy Mercier Descloux,
T. Rex,
Adolescents,
Selector Dub Narcotic,
The Fuzztones,
Yaz,
The Slackers,
Tubeway Army,
Sticky Fingaz feat. Raekwon,
Ohio Players,
Saccharine Trust,
The Beau Brummels,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.