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 Guinea-Bissau and from Madrid.
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 1966 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 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Arcadia to the funk kids.
I played it at the Crocodile.
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 Standells. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
The Trojans,
The Gories,
Johnny Clarke,
Be Bop Deluxe,
This Heat,
The Fortunes,
Trumans Water,
Eve St. Jones,
Nation of Ulysses,
Maleditus Sound,
Mad Mike,
Vaughan Mason & Crew,
Clear Light,
Eric B and Rakim,
The West Coast Pop Art Experimental Band,
Infiniti,
The Evens,
The Flesh Eaters,
Loose Ends,
Yusef Lateef,
Scott Walker,
Rotary Connection,
Sly & The Family Stone,
Urselle,
The Moody Blues,
John Holt,
Robert Wyatt,
Drexciya,
Jeff Lynne,
Barclay James Harvest,
Sandy B,
Jerry's Kids,
Make Up,
Radio Birdman,
Godley & Creme,
Rakim,
Rahsaan Roland Kirk,
Quantec,
The Move,
L. Decosne,
Lee Hazlewood,
The Dave Clark Five,
Banda Bassotti,
Aural Exciters,
Faraquet,
John Coltrane,
Rosa Yemen,
Depeche Mode,
John Lydon,
Scion,
Zapp,
8 Eyed Spy,
The United States of America,
Byron Stingily,
The J.B.'s,
Underground Resistance,
The Grass Roots,
Skarface,
Aaron Thompson,
Arcadia,
Sunsets and Hearts,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.