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 Mozambique and from Glasgow.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Tokyo 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 arpeggiator 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 The Standells to the disco 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 Q and Not U. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Flash Fearless 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Eyeless In Gaza,
Tears for Fears,
Bang on a Can All-Stars,
Radiopuhelimet,
MDC,
Amazonics,
The Chocolate Watch Band,
Grey Daturas,
World's Most,
Girls At Our Best!,
The Dead C,
Prince Buster,
The Sonics,
The Gap Band,
Zero Boys,
Infiniti,
John Foxx,
Grauzone,
Ultra Naté,
Radio Birdman,
JFA,
Los Fastidios,
The Busters,
Johnny Clarke,
Icehouse,
Pole,
Nik Kershaw,
Jandek,
The Gun Club,
Gabor Szabo,
Terror Squad Feat. Camron,
Soulsonic Force,
Eden Ahbez,
Gil Scott-Heron and Jamie xx,
Severed Heads,
Rahsaan Roland Kirk,
Notorious Big And Bone Thugs,
Mr. Review,
Pulsallama,
Black Pus,
Surgeon,
Scratch Acid,
Gil Scott Heron,
Half Japanese,
The Saints,
Major Organ And The Adding Machine,
a-ha,
Bobbi Humphrey,
The American Breed,
Derrick Morgan,
Erykah Badu,
Lou Reed & Metallica,
The Mojo Men,
OOIOO,
Fatback Band,
Pharaoh Sanders and the Fire Engines,
Pet Shop Boys,
Marcia Griffiths,
Davy DMX,
Young Marble Giants,
David McCallum, David McCallum, David McCallum, David McCallum.
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.