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 Nicaragua and from Manchester.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 The Last Poets to the rock kids.
I played it at Cafe Wha.
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 The Star Department. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron 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 Fortunes,
T. Rex,
Second Layer,
Notorious Big And Bone Thugs,
Black Bananas,
Strawberry Alarm Clock,
Avey Tare & Kría Brekkan,
Ice-T,
Arab on Radar,
Sixth Finger,
Chris Corsano,
Carl Craig,
Mars,
The American Breed,
The Jesus and Mary Chain,
Stiv Bators,
Marc Almond,
Larry & the Blue Notes,
F. McDonald,
the Germs,
The Human League,
Delta 5,
The Fuzztones,
Todd Rundgren,
Tres Demented,
Delon & Dalcan,
Suicide,
Bad Manners,
Stereo Dub,
Japan,
Lou Christie,
Roy Ayers,
Pantaleimon,
Kevin Saunderson,
These Immortal Souls,
Sly & The Family Stone,
Public Image Ltd.,
The Golliwogs,
Pet Shop Boys,
Andrew Ashong & Theo Parrish,
The Vogues,
The Stooges,
Amazonics,
Hot Snakes,
Dark Day,
Electric Light Orchestra,
the Fania All-Stars,
The Royal Family And The Poor,
Ralphi Rosario,
Minutemen,
Jacob Miller,
Barrington Levy,
Boredoms,
Maurizio,
Orchestral Manoeuvres in the Dark,
The Doors,
Judy Mowatt,
Yusef Lateef,
Sonny Sharrock,
Juan Atkins,
Half Japanese,
Magma, Magma, Magma, Magma.
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.