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 Lebanon and from New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Sao Paulo 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 Nile Rodgers 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 Young Rascals to the rap 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 Malaria!. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
The Flesh Eaters,
Wighnomy Brothers & Robag Wruhme,
Tropical Tobacco,
Letta Mbulu,
Steve Hackett,
Make Up,
Charles Mingus,
The Motions,
Masters at Work,
Deakin,
Howard Jones,
Amon Düül,
Vaughan Mason & Crew,
Grauzone,
Scratch Acid,
Lou Reed & Metallica,
Pantaleimon,
Johnny Clarke,
Joyce Sims,
Oppenheimer Analysis,
K-Klass,
Fear,
Black Bananas,
James White and The Blacks,
June of 44,
Sexual Harrassment,
Althea and Donna,
Qualms,
A Flock of Seagulls,
Vainqueur,
Soft Machine,
Mission of Burma,
The Misunderstood,
Todd Rundgren,
Inner City,
Nas,
Porter Ricks,
Junior Murvin,
Dual Sessions,
Lower 48,
Sonic Youth,
The West Coast Pop Art Experimental Band,
Jeff Lynne,
Royal Trux,
the Slits,
The Fuzztones,
Whodini,
The Doors,
Kauko Röyhkä ja Narttu,
The Cramps,
Ronnie Foster,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Young Rascals,
Gong,
Pete Rock & C.L. Smooth,
Dave Gahan,
The Toasters,
Bootsy Collins,
Aswad, Aswad, Aswad, Aswad.
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.