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 Nigeria and from Salvador.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Seoul 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 at the first Suicide practice in a loft in New York.
I was working on the marimba 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 Captain Beefheart & His Magic Band to the techno kids.
I played it at Cafe Wha.
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 The Barracudas. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Kevin Saunderson,
Livin' Joy,
Gang of Four,
Grandmaster Flash and the Furious Five,
New Age Steppers,
Deakin,
Shoche,
Bill Wells,
Das Ding,
The Index,
Godley & Creme,
Electric Prunes,
Yusef Lateef,
Scrapy,
EPMD,
Peter and Kerry,
Gregory Isaacs,
Eric Copeland,
Shuggie Otis,
June Days,
Banda Bassotti,
FM Einheit,
Stetsasonic,
Index,
Pere Ubu,
The Chocolate Watch Band,
Loose Ends,
Nico,
The Doors,
Donald Byrd,
Quadrant,
Al Stewart,
the Fania All-Stars,
The Offenders,
Quando Quango,
Steve Hackett,
Bush Tetras,
Magazine,
Parry Music,
James White and The Blacks,
Eric B and Rakim,
Circle Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cramps,
Alton Ellis,
Sixth Finger,
The Blackbyrds,
Stockholm Monsters,
Art Ensemble Of Chicago,
Mark Hollis,
The Flesh Eaters,
Strawberry Alarm Clock,
Goldenarms,
Hot Snakes,
Sex Pistols,
Lonnie Liston Smith,
The Alarm Clocks,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.