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 Tunisia and from Cairo.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school London 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 güiro 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 Con Funk Shun to the techno 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 Lafayette Afro Rock Band. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Junior Murvin,
Susan Cadogan,
Alice Coltrane,
A Flock of Seagulls,
Bush Tetras,
Nik Kershaw,
MDC,
Tom Boy,
Skriet,
Neil Young & Crazy Horse,
Warsaw,
Jerry Gold Smith,
Rufus Thomas,
Roy Ayers,
Hoover,
Rhythim Is Rhythim,
Lonnie Liston Smith,
These Immortal Souls,
Mo-Dettes,
The Tremeloes,
Banda Bassotti,
Strawberry Alarm Clock,
Sound Behaviour,
Echospace,
Throbbing Gristle,
Agitation Free,
Parry Music,
Gil Scott-Heron and Jamie xx,
The Sisters of Mercy,
New Age Steppers,
Stereo Dub,
Sugar Minott,
EPMD,
Das Ding,
Roxette,
Jawbox,
Terrestrial Tones,
K-Klass,
Grandmaster Flash and the Furious Five,
Rhythm & Sound,
Pet Shop Boys,
Fort Wilson Riot,
Desert Stars,
Jeff Lynne,
Audionom,
Gang Gang Dance,
The Monochrome Set,
Nico,
Ituana,
Dr. Dre and Snoop Doggy Dog,
Rites of Spring,
Technova,
Marvin Gaye,
Unrelated Segments,
Cymande,
Mars,
Brass Construction,
The Martian,
Soulsonic Force,
Harry Pussy,
Freddie Wadling,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.