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 Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Tehran 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 organ 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 Gil Scott-Heron and Jamie xx to the crunk kids.
I played it at the Spitz.
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 Remains. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a snare 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 mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Supertramp,
CMW,
The Fire Engines,
Don Cherry,
Gregory Isaacs,
Nas,
Icehouse,
B.T. Express,
Dawn Penn,
Maurizio,
Brick,
The Alarm Clocks,
Minnie Riperton,
Slick Rick,
London Community Gospel Choir,
Symarip,
Skarface,
Sandy B,
Thompson Twins,
Banda Bassotti,
The Grass Roots,
Amon Düül,
Tom Boy,
Prince Buster,
the Soft Cell,
Bluetip,
Archie Shepp,
Au Pairs,
Arab on Radar,
Siglo XX,
D'Angelo,
Deepchord,
Half Japanese,
New York Dolls,
Visionaries,LMNO, T- Love & Iriscience,
The Fuzztones,
Magma,
Mr. Review,
UT,
Gastr Del Sol,
Grandmaster Flash,
Infiniti,
The J.B.'s,
Rowland S Howard / Lydia Lunch,
The Vogues,
Darondo,
The Gun Club,
Joey Negro,
The Moody Blues,
Quadrant,
Robert Hood,
The New Christs,
Pylon,
Rosa Yemen,
Hoover,
KRS-One,
The Zeros,
Pulsallama,
the Fania All-Stars,
cv313,
The Cowsills,
Pagans,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.