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 Mauritania and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Roy Ayers Ubiquity to the crunk kids.
I played it at the 40 Watt.
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 Sarah Menescal. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Fort Wilson Riot 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Roger Hodgson,
Brand Nubian,
K-Klass,
Jeru the Damaja,
Das Ding,
AZ,
Robert Hood,
John Coltrane,
Freddie Wadling,
Roy Ayers Ubiquity,
Aswad,
Camberwell Now,
Bush Tetras,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
8 Eyed Spy,
Pet Shop Boys,
KRS-One,
Inner City,
Bill Wells,
L. Decosne,
Lucky Dragons,
Cybotron,
John Holt,
Minnie Riperton,
Main Source,
Roy Ayers,
The Gap Band,
John Foxx,
Drexciya,
the Slits,
Duran Duran,
Electric Prunes,
Funky Four + One,
The Doors,
the Association,
The Shadows of Knight,
De La Soul & Jungle Brothers,
Super Lover Cee & Casanova Rud,
Nas,
Rhythim Is Rhythim,
Underground Resistance,
Alison Limerick,
Steve Hackett,
Barclay James Harvest,
the Bar-Kays,
UT,
Susan Cadogan,
Mandrill,
Bauhaus,
Gang Green,
Nirvana,
the Soft Cell,
Qualms,
The Grass Roots,
Black Sheep,
The Knickerbockers,
Livin' Joy,
Zero Boys,
Be Bop Deluxe,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.