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 China and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and New York.
I'm losing my edge to the art-school Mexico City 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Arab on Radar to the jazz kids.
I played it at the Hacienda.
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 Lebanon Hanover. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
The Selecter,
London Community Gospel Choir,
Avey Tare's Slasher Flicks,
Can,
Drive Like Jehu,
Lou Reed & Metallica,
Quadrant,
the Human League,
Donald Byrd,
Brothers Johnson,
Saccharine Trust,
UT,
The Durutti Column,
Fort Wilson Riot,
Young Marble Giants,
Nils Olav,
Mission of Burma,
Crooked Eye,
Lindisfarne,
Dennis Brown,
Rotary Connection,
Glambeats Corp.,
Pet Shop Boys,
Siouxsie and the Banshees,
Arthur Verocai,
Terror Squad Feat. Camron,
Jimmy McGriff,
ABC,
Vaughan Mason & Crew,
cv313,
Quantec,
Angry Samoans,
Archie Shepp,
Hashim,
Bush Tetras,
Anthony Braxton,
Sällskapet,
Ajijia Myrayebe,
Wings,
John Lydon,
Rufus Thomas,
Ituana,
Kango’s Stein Massive,
Chrome,
Pharaoh Sanders and the Fire Engines,
The Fortunes,
MDC,
The Fire Engines,
Lou Reed,
The Offenders,
James Chance & The Contortions,
The Saints,
De La Soul & Jungle Brothers,
Pagans,
D'Angelo,
Harry Pussy,
Cameo,
Arab on Radar,
Joey Negro,
Liaisons Dangereuses,
This Heat, This Heat, This Heat, This Heat.
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.