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 Slovenia and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Manchester and Bologna.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 The Litter to the dance 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 Jimmy McGriff. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Andrew Hill,
Suicide,
Franke,
The Searchers,
Delta 5,
Minor Threat,
Harry Pussy,
Rahsaan Roland Kirk,
Ituana,
Matthew Bourne,
ABC,
Rowland S Howard / Lydia Lunch,
Oppenheimer Analysis,
Jesper Dahlbäck,
Deakin,
Deutsch Amerikanische Freundschaft,
Mark Hollis,
Dead Boys,
The Names,
The Selecter,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
The Modern Lovers,
Yusef Lateef,
Television Personalities,
Loose Ends,
Marshall Jefferson,
Easy Going,
Glenn Branca,
Ohio Players,
Bang On A Can,
Dawn Penn,
Eurythmics,
Tropical Tobacco,
Joensuu 1685,
Sällskapet,
Freddie Wadling,
The Young Rascals,
Von Mondo,
Japan,
Eric B and Rakim,
Soul II Soul,
Heaven 17,
Maleditus Sound,
London Community Gospel Choir,
Quando Quango,
Bronski Beat,
Adolescents,
Morten Harket,
Soft Machine,
D'Angelo,
The Star Department,
Half Japanese,
Lucky Dragons,
Shoche,
The Move,
Bill Wells,
Tears for Fears,
Gang Starr,
Grandmaster Flash,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.