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 Morocco and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Calgary 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the güiro 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 Dennis Brown to the grunge kids.
I played it at the 40 Watt.
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 David McCallum. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Clear Light 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Arab on Radar,
Minor Threat,
Matthew Halsall,
Manfred Mann's Earth Band,
Lou Reed,
The Pop Group,
Ornette Coleman,
Minutemen,
Gil Scott-Heron & Brian Jackson,
Anakelly,
the Association,
Amazonics,
Jerry's Kids,
Bobby Sherman,
The Detroit Cobras,
Marc Romboy vs. Booka Shade,
The Cosmic Jokers,
Roy Ayers,
KRS-One,
Harpers Bizarre,
the Soft Cell,
Stockholm Monsters,
Rites of Spring,
Babytalk,
Negative Approach,
Massinfluence,
Skriet,
The Chocolate Watch Band,
Monolake,
Rotary Connection,
Jerry Gold Smith,
Radiohead,
Warsaw,
Fluxion,
John Foxx,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Pus,
Ken Boothe,
Marcia Griffiths,
Fear,
Vaughan Mason & Crew,
Art Ensemble Of Chicago,
Bang On A Can,
The Dirtbombs,
Tears for Fears,
Kevin Saunderson,
The Wake,
The Skatalites,
Throbbing Gristle,
Faust,
K-Klass,
Symarip,
Janne Schatter,
James White and The Blacks,
Eric Dolphy,
Piero Umiliani,
Carl Craig,
Orchestral Manoeuvres in the Dark,
Black Sheep,
The Smoke,
Lebanon Hanover,
T. Rex,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.