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 Jordan and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1976.
I'm losing my edge.
To all the kids in New York and Mumbai.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Soul Sonic Force to the jazz kids.
I played it at the Astoria.
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 Danielle Patucci. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cheater Slicks record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Dr. Dre and Snoop Doggy Dog,
Heavy D & The Boyz,
Minutemen,
Interpol,
Siouxsie and the Banshees,
Animal Collective,
Negative Approach,
The Seeds,
Nas,
Henry Cow,
Brick,
Deadbeat,
Eddi Front,
Hashim,
Black Moon,
Silicon Teens,
Mission of Burma,
Leonard Cohen,
Maleditus Sound,
Mr. Review,
The Move,
Vladislav Delay,
Organ,
the Germs,
the Human League,
Man Parrish,
Amazonics,
DJ Style,
Essential Logic,
Stereo Dub,
Sound Behaviour,
T. Rex,
Brass Construction,
The Sound,
Blake Baxter,
Bobbi Humphrey,
Ultravox,
Letta Mbulu,
Radiohead,
Tommy Roe,
Stockholm Monsters,
The Martian,
The Selecter,
Iggy Pop,
Roy Ayers Ubiquity,
The Neon Judgement,
Grandmaster Flash,
Lower 48,
Marc Romboy vs. Booka Shade,
John Foxx,
LL Cool J,
Scrapy,
The Invisible,
Bizarre Inc.,
Graham Central Station,
Ronnie Foster,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.