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 Grenada and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Woodstock 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 Captain Beefheart 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 DNA 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 Johnny Clarke. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Robert Görl,
Captain Beefheart & His Magic Band,
Kool Moe Dee,
The Slackers,
De La Soul & Jungle Brothers,
Sam Rivers,
Barclay James Harvest,
Ten City,
Joe Finger,
Minnie Riperton,
Masters at Work,
EPMD,
Quadrant,
LL Cool J,
Joyce Sims,
U.S. Maple,
Blossom Toes,
Kerrie Biddell,
Alice Coltrane,
Teenage Jesus and the Jerks,
The Last Poets,
Ken Boothe,
The Cure,
Shoche,
Graham Central Station,
B.T. Express,
Tropical Tobacco,
Radiohead,
T.S.O.L.,
Gregory Isaacs,
Brick,
Roy Ayers Ubiquity,
Gil Scott Heron,
Nik Kershaw,
Procol Harum,
Liaisons Dangereuses,
Selector Dub Narcotic,
Sex Pistols,
Section 25,
Babytalk,
Scion,
New Age Steppers,
Gastr Del Sol,
Louis and Bebe Barron,
Pere Ubu,
Marvin Gaye,
Con Funk Shun,
London Community Gospel Choir,
Skaos,
the Fania All-Stars,
Scratch Acid,
Wings,
X-Ray Spex,
The Cramps,
Visage,
Byron Stingily,
Sad Lovers and Giants,
Sight & Sound,
Eyeless In Gaza,
Maurizio,
Echospace, Echospace, Echospace, Echospace.
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.