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 Belarus and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 The Trojans to the rap 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 Mars. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Robert Wyatt,
Bush Tetras,
Monolake,
The Smoke,
Tomorrow,
Freddie Wadling,
Al Stewart,
Aswad,
Fort Wilson Riot,
ABC,
The Barracudas,
Fifty Foot Hose,
The Sound,
Albert Ayler,
Johnny Clarke,
Symarip,
Strawberry Alarm Clock,
Kas Product,
Howard Jones,
Surgeon,
Barry Ungar,
Arthur Verocai,
Supertramp,
Shoche,
Carl Craig,
R.M.O.,
Circle Jerks,
The Cure,
the Fania All-Stars,
Subhumans,
The Five Americans,
Kurtis Blow,
Oppenheimer Analysis,
The Peanut Butter Conspiracy,
AZ,
Maleditus Sound,
Gabor Szabo,
Lalo Schifrin,
Fat Boys,
Jeff Mills,
Ronnie Foster,
Section 25,
Main Source,
Todd Terry,
Easy Going,
Tommy Roe,
Jerry's Kids,
Scott Walker + Sunn O))),
Eden Ahbez,
Patti Smith,
Archie Shepp,
Robert Görl,
In Retrospect,
Nils Olav,
June of 44,
Nik Kershaw,
David Axelrod,
Bizarre Inc.,
F. McDonald,
Terry Callier,
the Human League, the Human League, the Human League, the Human League.
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.