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 Nigeria and from Philadelphia.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Cairo and Lyon.
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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Aswad to the rock 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 Lou Reed & Metallica. All the underground hits.
All Can tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ludus 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?
Icehouse,
Swell Maps,
Jimmy McGriff,
The Seeds,
The Gladiators,
Agitation Free,
Pussy Galore,
Sam Rivers,
Chris & Cosey,
Lonnie Liston Smith,
Barbara Tucker,
Rites of Spring,
It's A Beautiful Day,
Boz Scaggs,
Gang Starr,
Justin Hinds & The Dominoes,
Spoonie Gee,
David Axelrod,
Robert Görl,
Pagans,
Scratch Acid,
The Selecter,
The Modern Lovers,
The Trojans,
Shoche,
Easy Going,
Negative Approach,
The Residents,
Lakeside,
OOIOO,
Newcleus,
Monolake,
The Dave Clark Five,
The Stooges,
Sly & The Family Stone,
Soft Machine,
Bill Wells,
Mark Hollis,
Jerry Gold Smith,
Gabor Szabo,
A Certain Ratio,
X-101,
Thee Headcoats,
Idris Muhammad,
Barry Ungar,
Tomorrow,
Moebius,
Susan Cadogan,
Lalo Schifrin,
Robert Hood,
Ronan,
The Peanut Butter Conspiracy,
The Doobie Brothers,
The Men They Couldn't Hang,
Soul II Soul,
Fort Wilson Riot,
The Chocolate Watch Band,
Marcia Griffiths,
Ultimate Spinach,
Wolf Eyes,
The Associates,
a-ha, a-ha, a-ha, a-ha.
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.