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 Bahrain and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Bad Manners to the grime kids.
I played it at the Crocodile.
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 Blackbyrds. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
In Retrospect,
Josef K,
Black Sheep,
Sad Lovers and Giants,
Ice-T,
Funkadelic,
The Litter,
Scratch Acid,
Albert Ayler,
Gian Franco Pienzio,
ABC,
Aaron Thompson,
Rhythm & Sound,
Parry Music,
Faust,
The Saints,
Nico,
Chrome,
Clear Light,
Hot Snakes,
Slave,
Siglo XX,
X-102,
Terror Squad Feat. Camron,
The Grass Roots,
Rotary Connection,
June Days,
Alison Limerick,
Eden Ahbez,
Sister Nancy,
Ituana,
Popol Vuh,
The Beau Brummels,
Sun Ra,
Judy Mowatt,
Robert Wyatt,
Japan,
Gichy Dan,
Godley & Creme,
The Sound,
Pete Rock & C.L. Smooth,
Bobby Sherman,
Section 25,
Visage,
Röyhkä ja Rättö ja Lehtisalo,
Fat Boys,
Marine Girls,
Spandau Ballet,
Trumans Water,
Fad Gadget,
Bizarre Inc.,
Dorothy Ashby,
Half Japanese,
Public Enemy,
Severed Heads,
Captain Beefheart & His Magic Band,
The Peanut Butter Conspiracy,
Bootsy's Rubber Band,
Echo & the Bunnymen,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.