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 Turkmenistan and from Lagos.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Sam Rivers to the crunk kids.
I played it at the Roxy.
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 Marcia Griffiths. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Lalann,
X-101,
Curtis Mayfield,
Icehouse,
The Music Machine,
Judy Mowatt,
Lyres,
The Dirtbombs,
Jesper Dahlbäck,
Country Teasers,
The Count Five,
Lee Hazlewood,
Deakin,
The West Coast Pop Art Experimental Band,
Brothers Johnson,
The Walker Brothers,
Theoretical Girls,
Donald Byrd,
Wire,
The Divine Comedy,
The Red Krayola,
Jacques Brel,
Blake Baxter,
Rowland S Howard / Lydia Lunch,
Pet Shop Boys,
Notorious Big And Bone Thugs,
Joe Finger,
Lindisfarne,
Jawbox,
Urselle,
Spoonie Gee,
Barclay James Harvest,
The Fortunes,
Sad Lovers and Giants,
Joe Smooth,
Siouxsie and the Banshees,
Black Flag,
Rufus Thomas,
Nas,
A Flock of Seagulls,
Aloha Tigers,
Blossom Toes,
Yazoo,
Public Enemy,
Marcia Griffiths,
Lungfish,
Grauzone,
the Soft Cell,
Super Lover Cee & Casanova Rud,
The Black Dice,
Trumans Water,
Hoover,
Model 500,
Bob Dylan,
Aaron Thompson,
The American Breed,
Glambeats Corp.,
The Offenders,
Steve Hackett,
De La Soul & Jungle Brothers,
The Vogues, The Vogues, The Vogues, The Vogues.
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.