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 South Sudan and from Manila.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Halifax.
I'm losing my edge to the art-school Bremen 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 sitar 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 Thompson Twins to the rock kids.
I played it at the Spitz.
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 Joensuu 1685. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Walker Brothers,
Nas,
Mission of Burma,
Ten City,
Make Up,
Scratch Acid,
The Durutti Column,
Tim Buckley,
Agent Orange,
Sarah Menescal,
The Standells,
Gary Puckett & The Union Gap,
Lungfish,
EPMD,
Babytalk,
Essential Logic,
The Beau Brummels,
Interpol,
Arcadia,
Rhythim Is Rhythim,
Fort Wilson Riot,
Public Enemy,
Juan Atkins,
KRS-One,
Andrew Ashong & Theo Parrish,
Duran Duran,
Jerry's Kids,
Crispy Ambulance,
Al Stewart,
Brick,
Technova,
Kenny Larkin,
Man Parrish,
The Count Five,
Skarface,
Johnny Clarke,
Glenn Branca,
Nils Olav,
Easy Going,
Underground Resistance,
Deepchord,
Kurtis Blow,
Black Bananas,
Unrelated Segments,
The Gap Band,
Angels of Light & Akron/Family,
Alphaville,
Max Romeo,
Idris Muhammad,
the Human League,
Cymande,
Davy DMX,
Crispian St. Peters,
the Normal,
Yaz,
Gang Gang Dance,
Electric Prunes,
The Happenings,
Brass Construction,
The Music Machine,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.