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 Ukraine and from Copenhagen.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 Mary Jane Girls to the grunge 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 New Age Steppers. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Kayak 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Audionom,
The Mojo Men,
The Stooges,
Livin' Joy,
The Dead C,
Hot Snakes,
Fort Wilson Riot,
Brand Nubian,
Barry Ungar,
Davy DMX,
Glambeats Corp.,
Agitation Free,
Kauko Röyhkä ja Narttu,
Isaac Hayes,
New Order,
Man Eating Sloth,
Public Enemy,
Brass Construction,
Sight & Sound,
Gastr Del Sol,
Pussy Galore,
Lyres,
Agent Orange,
Anakelly,
Alice Coltrane,
Shuggie Otis,
DeepChord presents Echospace,
Arab on Radar,
Justin Hinds & The Dominoes,
Jawbox,
Jeff Lynne,
L. Decosne,
Marcia Griffiths,
Organ,
Angels of Light & Akron/Family,
Roy Ayers,
Gil Scott Heron,
Franke,
The Grass Roots,
The Gap Band,
Toni Rubio,
Marvin Gaye,
Robert Wyatt,
Super Lover Cee & Casanova Rud,
Mad Mike,
X-Ray Spex,
The Young Rascals,
Buzzcocks,
Spoonie Gee,
Talk Talk,
Josef K,
Nils Olav,
The Zeros,
Hasil Adkins,
Archie Shepp,
Don Cherry,
Dual Sessions,
Fat Boys,
Make Up, Make Up, Make Up, Make Up.
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.