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 Bosnia Herzegovina and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Paris 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 The Selecter to the dance kids.
I played it at the Troubador.
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 Television Personalities. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every E-Dancer 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
The Residents,
Rahsaan Roland Kirk,
Deadbeat,
Marmalade,
10cc,
ABBA,
Barbara Tucker,
Scrapy,
Wings,
Beasts of Bourbon,
Cheater Slicks,
The Golliwogs,
Alton Ellis,
Rotary Connection,
The Happenings,
LL Cool J,
Justin Hinds & The Dominoes,
Lindisfarne,
Crash Course in Science,
Jacques Brel,
The Jesus and Mary Chain,
Toni Rubio,
The Dirtbombs,
Brothers Johnson,
Liaisons Dangereuses,
Black Moon,
The Stooges,
Thinking Fellers Union Local 282,
Moss Icon,
Bootsy Collins,
Alice Coltrane,
Bobby Byrd,
Sandy B,
Tropical Tobacco,
Larry & the Blue Notes,
Kool G Rap & DJ Polo,
Zero Boys,
The Modern Lovers,
Blake Baxter,
Barry Ungar,
Colin Newman,
Pantaleimon,
China Crisis,
Archie Shepp,
Swell Maps,
Bob Dylan,
MC5,
Steve Hackett,
Grey Daturas,
Neil Young & Crazy Horse,
The Wake,
D'Angelo,
Deepchord,
Jimmy McGriff,
Art Ensemble Of Chicago,
Young Marble Giants,
Juan Atkins,
Ken Boothe,
The Shadows of Knight,
Amon Düül II,
Eric B and Rakim,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.