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 Somalia and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Spokane.
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 spring reverb 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 Judy Mowatt to the grunge 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 Aswad. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Crime,
A Certain Ratio,
Guru Guru,
Moby Grape,
Skarface,
June Days,
Morten Harket,
Zapp,
The Dirtbombs,
Grandmaster Flash and the Furious Five,
Marshall Jefferson,
The Moleskins,
Beasts of Bourbon,
The Move,
Roxette,
Kerri Chandler,
Desert Stars,
Cymande,
Easy Going,
David McCallum,
Ossler,
Minor Threat,
The Birthday Party,
Brick,
Kool G Rap & DJ Polo,
Barry Ungar,
Avey Tare & Kría Brekkan,
Kerrie Biddell,
Joe Finger,
Sun Ra Arkestra,
Roger Hodgson,
Isaac Hayes,
Electric Light Orchestra,
The Jesus and Mary Chain,
Radio Birdman,
Alison Limerick,
Thee Headcoats,
Robert Hood,
Kango’s Stein Massive,
Letta Mbulu,
Super Lover Cee & Casanova Rud,
Ohio Players,
Sex Pistols,
Man Eating Sloth,
The Neon Judgement,
Pete Rock & C.L. Smooth,
Roy Ayers Ubiquity,
The Selecter,
The Offenders,
Angry Samoans,
Young Marble Giants,
John Lydon,
Fort Wilson Riot,
Chris Corsano,
Lyres,
Jerry Gold Smith,
Mark Hollis,
Hasil Adkins,
DNA,
Animal Collective,
Scrapy,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.