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 Switzerland and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 Charles Mingus to the jazz kids.
I played it at the Roxy.
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 Altered Images. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Average White Band 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 '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
The Vogues,
Sandy B,
The Kinks,
Pete Rock & C.L. Smooth,
Bobby Sherman,
Alison Limerick,
Theoretical Girls,
Gian Franco Pienzio,
Joe Finger,
Rhythim Is Rhythim,
Essential Logic,
The Blues Magoos,
The Moody Blues,
Whodini,
The Stooges,
Banda Bassotti,
the Bar-Kays,
Das Ding,
The Index,
Buzzcocks,
Half Japanese,
Cheater Slicks,
Godley & Creme,
La Düsseldorf,
Swell Maps,
Subhumans,
Marine Girls,
Unrelated Segments,
The Gladiators,
Max Romeo,
Faraquet,
Man Eating Sloth,
Derrick Morgan,
Khruangbin,
Kool Moe Dee,
Quando Quango,
Jeru the Damaja,
Sexual Harrassment,
The Music Machine,
Scott Walker,
Brand Nubian,
Eric B and Rakim,
Mary Jane Girls,
Pantytec,
Hoover,
Livin' Joy,
Roy Ayers Ubiquity,
OOIOO,
Ice-T,
It's A Beautiful Day,
Liaisons Dangereuses,
Goldenarms,
Lou Reed,
The Sisters of Mercy,
The Count Five,
Moebius,
Erykah Badu,
Nils Olav,
Stiv Bators,
Cymande,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.