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 Moldova and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Taipei and Halifax.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Aaron Thompson to the crunk kids.
I played it at the 40 Watt.
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 Erykah Badu. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Parry Music,
Sly & The Family Stone,
Donald Byrd,
Symarip,
Wighnomy Brothers & Robag Wruhme,
Dennis Brown,
The Moleskins,
The Chocolate Watch Band,
Aswad,
Marcia Griffiths,
Average White Band,
Black Sheep,
Nirvana,
The Happenings,
Pussy Galore,
John Coltrane,
Loose Ends,
Pantytec,
The Golliwogs,
The Evens,
Silicon Teens,
The Music Machine,
the Germs,
The Divine Comedy,
the Association,
Nico,
Stiv Bators,
Shuggie Otis,
Roger Hodgson,
Reuben Wilson,
The Detroit Cobras,
the Slits,
Ken Boothe,
Popol Vuh,
Arcadia,
Albert Ayler,
Lower 48,
Derrick May,
Danielle Patucci,
Black Flag,
The Gun Club,
Negative Approach,
Gerry Rafferty,
Man Parrish,
Lalann,
Rekid,
Crime,
Mary Jane Girls,
The J.B.'s,
John Cale,
AZ,
Lalo Schifrin,
Moss Icon,
Dorothy Ashby,
the Human League,
Lightning Bolt,
Juan Atkins,
Soft Cell,
Japan,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.