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 Yemen and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school New York 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 808 sounds with much patience.
I was there when David Bowie 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 Kevin Saunderson to the grime kids.
I played it at the Spitz.
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 Isaac Hayes. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Oneida,
Magazine,
The Pop Group,
Pantytec,
Hot Snakes,
DeepChord presents Echospace,
New Age Steppers,
Dark Day,
June of 44,
Gil Scott-Heron & Brian Jackson,
Groovy Waters,
Pharaoh Sanders and the Fire Engines,
The Dead C,
Vainqueur,
Ralphi Rosario,
Index,
the Slits,
Drive Like Jehu,
Eli Mardock,
Ultravox,
Clear Light,
Darondo,
F. McDonald,
Avey Tare,
Al Stewart,
Nils Olav,
Mars,
Swans,
The United States of America,
Model 500,
Wings,
E-Dancer,
Art Ensemble Of Chicago,
Derrick Morgan,
Donald Byrd,
CMW,
Liaisons Dangereuses,
Aswad,
Funky Four + One,
Echo & the Bunnymen,
Unrelated Segments,
Eric Copeland,
Fad Gadget,
Stereo Dub,
Jacob Miller,
Susan Cadogan,
Louis and Bebe Barron,
Archie Shepp,
The Zeros,
It's A Beautiful Day,
The Knickerbockers,
Bill Wells,
Yaz,
Erasure,
Glambeats Corp.,
Mission of Burma,
Barrington Levy,
Jeff Mills,
Matthew Halsall,
Roxette, Roxette, Roxette, Roxette.
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.