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 El Salvador and from Manchester.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Calgary and Cairo.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Minutemen to the crunk 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 Porter Ricks. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
La Düsseldorf,
Bauhaus,
Warsaw,
Sarah Menescal,
Beasts of Bourbon,
Sight & Sound,
The Alarm Clocks,
JFA,
Max Romeo,
Avey Tare,
10cc,
Pete Rock & C.L. Smooth,
Derrick Morgan,
Maurizio,
Todd Rundgren,
Gregory Isaacs,
Letta Mbulu,
Procol Harum,
Thee Headcoats,
Pussy Galore,
Stockholm Monsters,
PIL,
Fifty Foot Hose,
The Human League,
The Associates,
Sad Lovers and Giants,
Rosa Yemen,
The Offenders,
The Jesus and Mary Chain,
Al Stewart,
The Angels of Light,
Skriet,
Ultimate Spinach,
Grandmaster Flash,
Erasure,
Major Organ And The Adding Machine,
The Seeds,
Robert Hood,
Tim Buckley,
The Evens,
Juan Atkins,
Connie Case,
Kool Moe Dee,
Agent Orange,
Camberwell Now,
Interpol,
Carl Craig,
The Music Machine,
Charles Mingus,
The Grass Roots,
LL Cool J,
The Trojans,
Brass Construction,
A Flock of Seagulls,
Sandy B,
John Coltrane,
Kayak,
Jacques Brel,
Ash Ra Tempel,
Avey Tare's Slasher Flicks,
Buzzcocks,
Jacob Miller,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.