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 Cuba and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Winnipeg 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Vainqueur to the grime 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 Cabaret Voltaire. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every the Normal 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 a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Yusef Lateef,
Tubeway Army,
X-Ray Spex,
The Doors,
Sad Lovers and Giants,
Main Source,
Blake Baxter,
the Slits,
Urselle,
Sunsets and Hearts,
The Selecter,
Sun Ra,
Model 500,
Ash Ra Tempel,
Cecil Taylor,
Can,
Sam Rivers,
Rekid,
John Holt,
Swans,
Yazoo,
ABC,
Dorothy Ashby,
Amon Düül II,
Funkadelic,
Terrestrial Tones,
Toni Rubio,
Young Marble Giants,
Clear Light,
Red Lorry Yellow Lorry,
John Lydon,
Man Eating Sloth,
Nirvana,
Jimmy McGriff,
Au Pairs,
The Litter,
X-102,
Sällskapet,
Cabaret Voltaire,
48th St. Collective,
Lou Christie,
Avey Tare,
The Vogues,
The Zeros,
Suicide,
Q65,
T.S.O.L.,
E-Dancer,
The Pop Group,
Marmalade,
Joy Division,
Tom Boy,
Junior Murvin,
The Slackers,
Larry & the Blue Notes,
Nik Kershaw,
The Men They Couldn't Hang,
Ultra Naté,
Cymande,
The Music Machine,
Jacob Miller,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.