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 Guatemala and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Paris 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 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 Brass Construction to the grime kids.
I played it at the Troubador.
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 Roy Ayers Ubiquity. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Moss Icon 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 '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Adolescents,
Erykah Badu,
Cameo,
Flipper,
Spoonie Gee,
Louis and Bebe Barron,
CMW,
The Names,
Whodini,
Nick Cave & The Bad Seeds,
Eli Mardock,
Magma,
Sun Ra,
A Certain Ratio,
Graham Central Station,
Ronan,
Davy DMX,
Joy Division,
Bootsy's Rubber Band,
Bauhaus,
Buzzcocks,
The Monks,
U.S. Maple,
Ten City,
Sixth Finger,
Groovy Waters,
Deutsch Amerikanische Freundschaft,
Bob Dylan,
Bang On A Can,
UT,
Niagra,
Country Teasers,
Stereo Dub,
Fort Wilson Riot,
10cc,
Lonnie Liston Smith,
Kevin Saunderson,
Chrome,
Sound Behaviour,
Au Pairs,
The Pretty Things,
John Coltrane,
Man Parrish,
Oblivians,
June Days,
DNA,
Letta Mbulu,
Pet Shop Boys,
Be Bop Deluxe,
Marcia Griffiths,
Talk Talk,
Siouxsie and the Banshees,
Kerri Chandler,
The Jesus and Mary Chain,
Kenny Larkin,
Kurtis Blow,
Drexciya,
Swell Maps,
Notorious Big And Bone Thugs,
Harmonia,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.