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 Belarus and from Mexico City.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Portland.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Lou Reed & Metallica to the crunk kids.
I played it at Trash.
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 Black Pus. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Crime,
The Young Rascals,
Fluxion,
The Trojans,
The American Breed,
The Cowsills,
Depeche Mode,
David Bowie,
The Knickerbockers,
Juan Atkins,
Barclay James Harvest,
Underground Resistance,
Rod Modell,
Yazoo,
Sonic Youth,
The Slits,
Ronnie Foster,
Interpol,
Peter & Gordon,
The Dirtbombs,
MC5,
Camron Feat. Jay Z And Juelz,
Anakelly,
Liliput,
Stetsasonic,
The Dead C,
Bang On A Can,
Suicide,
Rosa Yemen,
A Certain Ratio,
The Shadows of Knight,
8 Eyed Spy,
Ten City,
Fugazi,
Rowland S Howard / Lydia Lunch,
Roger Hodgson,
Yusef Lateef,
The Seeds,
Eddi Front,
The J.B.'s,
Hardrive,
Gary Puckett & The Union Gap,
The Peanut Butter Conspiracy,
Goldenarms,
Index,
The Red Krayola,
Aswad,
Prince Buster,
Young Marble Giants,
Soft Cell,
Flash Fearless,
Rhythm & Sound,
The Blues Magoos,
Jerry's Kids,
Glambeats Corp.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Con Funk Shun,
Bill Near,
Pylon,
48th St. Collective,
Jacques Brel,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.