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 Bahamas and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Toronto and Manila.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 N.O.R.E. Featuring Pharrell 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 Visage. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Brick,
Rekid,
Clear Light,
The Selecter,
Donald Byrd,
Matthew Bourne,
The Electric Prunes,
The Offenders,
Todd Terry,
Chrome,
Jesper Dahlbäck,
Flamin' Groovies,
Model 500,
DJ Sneak,
Bronski Beat,
Boredoms,
the Bar-Kays,
James Chance & The Contortions,
Ten City,
Drexciya,
Ohio Players,
Jimmy McGriff,
Nik Kershaw,
Malaria!,
Electric Light Orchestra,
Eric Copeland,
Danielle Patucci,
The Mighty Diamonds,
Major Organ And The Adding Machine,
Erykah Badu,
Rites of Spring,
Bob Dylan,
Y Pants,
Terror Squad Feat. Camron,
The Five Americans,
Crispy Ambulance,
Wings,
Khruangbin,
Ralphi Rosario,
Lou Reed & John Cale,
Rufus Thomas,
Public Image Ltd.,
Gong,
The Dead C,
Sam Rivers,
Nirvana,
Yusef Lateef,
China Crisis,
June of 44,
kango's stein massive,
The Sonics,
John Cale,
Henry Cow,
Interpol,
The Fall,
Teenage Jesus and the Jerks,
Duran Duran,
John Holt,
Bang on a Can All-Stars,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.