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 Bahamas and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Delhi 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Man Eating Sloth to the disco kids.
I played it at the Troubador.
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 Angels of Light & Akron/Family. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Man Parrish,
Motorama,
Cameo,
Dead Boys,
Pantaleimon,
Graham Central Station,
Aloha Tigers,
Saccharine Trust,
The Mojo Men,
Barbara Tucker,
Visage,
Circle Jerks,
Soulsonic Force,
Isaac Hayes,
Bluetip,
Joyce Sims,
Angry Samoans,
Tim Buckley,
Aaron Thompson,
Kango’s Stein Massive,
A Certain Ratio,
Bobbi Humphrey,
Bob Dylan,
Stockholm Monsters,
Donny Hathaway,
The Chocolate Watch Band,
Peter and Kerry,
Yusef Lateef,
Schoolly D,
Con Funk Shun,
Glenn Branca,
Quando Quango,
Technova,
Grandmaster Flash and the Furious Five,
Colin Newman,
Kayak,
48th St. Collective,
Danielle Patucci,
The Last Poets,
U.S. Maple,
The Associates,
Scratch Acid,
Morten Harket,
Jesper Dahlbäck,
Fort Wilson Riot,
Piero Umiliani,
the Swans,
Ajijia Myrayebe,
The West Coast Pop Art Experimental Band,
Bootsy's Rubber Band,
the Soft Cell,
The Royal Family And The Poor,
Don Cherry,
Joensuu 1685,
The Count Five,
Aswad,
Icehouse,
Sad Lovers and Giants,
Heavy D & The Boyz,
Matthew Halsall,
The Misunderstood,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.