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 Chad and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Toronto and Bremen.
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 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 Skarface to the funk 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 Rakim. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
The Mojo Men,
Fugazi,
Jeff Mills,
Cluster,
The Busters,
Jeru the Damaja,
The Smoke,
Ronnie Foster,
Kurtis Blow,
Rufus Thomas,
Aural Exciters,
Pete Rock & C.L. Smooth,
Dead Boys,
ABC,
Rites of Spring,
The Alarm Clocks,
Radiopuhelimet,
Fifty Foot Hose,
Funkadelic,
Moby Grape,
Ultramagnetic MC's,
Dual Sessions,
The Selecter,
The Gap Band,
The Dirtbombs,
The J.B.'s,
Glambeats Corp.,
Circle Jerks,
Cymande,
Index,
Babytalk,
Jerry's Kids,
Alton Ellis,
Mary Jane Girls,
Peter and Kerry,
The Moleskins,
Lee Hazlewood,
Delon & Dalcan,
Harpers Bizarre,
Whodini,
Monks,
Anthony Braxton,
The Chocolate Watch Band,
Duran Duran,
Avey Tare,
John Holt,
The Peanut Butter Conspiracy,
Connie Case,
Parry Music,
Arcadia,
Roy Ayers Ubiquity,
Sun Ra,
Cybotron,
Banda Bassotti,
Aswad,
Japan,
Sound Behaviour,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ultimate Spinach,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.