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 Nicaragua and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Manila 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Monks to the techno kids.
I played it at the Astoria.
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 Country Joe & The Fish. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '70s 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 Talk Talk record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
John Holt,
Delon & Dalcan,
De La Soul & Jungle Brothers,
The Sisters of Mercy,
Eddi Front,
Japan,
Dual Sessions,
Technova,
Harmonia,
Bootsy Collins,
Pete Rock & C.L. Smooth,
Albert Ayler,
Half Japanese,
the Germs,
Mr. Review,
Radiohead,
The West Coast Pop Art Experimental Band,
Icehouse,
Swell Maps,
Kas Product,
The Skatalites,
Lakeside,
Sällskapet,
Oneida,
Connie Case,
Crime,
Procol Harum,
Brand Nubian,
Model 500,
Alison Limerick,
The Peanut Butter Conspiracy,
Hot Snakes,
Banda Bassotti,
Fugazi,
New Order,
Liaisons Dangereuses,
Yaz,
Erykah Badu,
Camouflage,
Brass Construction,
Youth Brigade,
Interpol,
The Happenings,
The Men They Couldn't Hang,
Tubeway Army,
Jerry's Kids,
Aswad,
Fela Kuti,
Magma,
Suicide,
Moebius,
Grandmaster Flash and the Furious Five,
Organ,
Teenage Jesus and the Jerks,
Avey Tare & Kría Brekkan,
Black Bananas,
Stetsasonic,
Eden Ahbez,
Sound Behaviour,
Danielle Patucci,
Avey Tare's Slasher Flicks,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.