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 Togo and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Bremen 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 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 Captain Beefheart & His Magic Band to the dance 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 Lou Christie. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Grauzone,
Peter & Gordon,
Mandrill,
Model 500,
Joey Negro,
The Names,
Qualms,
Scrapy,
Whodini,
Ultravox,
John Coltrane,
The United States of America,
Leonard Cohen,
Gil Scott-Heron & Brian Jackson,
The Gladiators,
Unrelated Segments,
Marvin Gaye,
Sad Lovers and Giants,
Lizzy Mercier Descloux,
Altered Images,
Mission of Burma,
Bootsy Collins,
Sight & Sound,
Gil Scott-Heron and Jamie xx,
Marc Romboy vs. Booka Shade,
Josef K,
Jeff Lynne,
The Martian,
Amon Düül II,
James White and The Blacks,
Severed Heads,
The Mummies,
Wire,
The Fortunes,
Sexual Harrassment,
John Holt,
Zero Boys,
Thompson Twins,
The West Coast Pop Art Experimental Band,
Cluster,
Visionaries,LMNO, T- Love & Iriscience,
Bang on a Can All-Stars,
Pharoah Sanders,
Eden Ahbez,
Blake Baxter,
Hashim,
Sugar Minott,
Sticky Fingaz feat. Raekwon,
The Golliwogs,
Eli Mardock,
Eyeless In Gaza,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Normal,
Depeche Mode,
Goldenarms,
Suicide,
Banda Bassotti,
Eve St. Jones,
Pussy Galore,
Brothers Johnson,
Marmalade,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.