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 Sweden and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Bologna 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 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 One Last Wish to the grime kids.
I played it at the Crocodile.
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 Dual Sessions. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Brick 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Joey Negro,
Derrick May,
Severed Heads,
The Fuzztones,
Scientists,
Tim Buckley,
Stockholm Monsters,
Masters at Work,
The Cramps,
Infiniti,
Television,
the Sonics,
Gichy Dan,
Godley & Creme,
Ossler,
The Selecter,
Dawn Penn,
Joensuu 1685,
Man Eating Sloth,
cv313,
Black Pus,
Soul II Soul,
Bang On A Can,
Major Organ And The Adding Machine,
Scratch Acid,
Pylon,
Avey Tare & Kría Brekkan,
The Toasters,
Hoover,
Model 500,
Eden Ahbez,
The Cure,
Letta Mbulu,
New Age Steppers,
Lakeside,
Gary Puckett & The Union Gap,
Smog,
Bill Near,
De La Soul & Jungle Brothers,
JFA,
Ludus,
Terrestrial Tones,
The Evens,
Eli Mardock,
Colin Newman,
Delon & Dalcan,
The Gories,
The Neon Judgement,
Hot Snakes,
Sight & Sound,
The West Coast Pop Art Experimental Band,
R.M.O.,
Joe Smooth,
Avey Tare,
The Names,
Liliput,
Sällskapet,
Absolute Body Control,
Motorama,
Minor Threat,
The Moody Blues,
Roxette,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.