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 Suriname and from Seoul.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1971.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
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 rhodes sounds with much patience.
I was there when Michael McDonald 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 West Coast Pop Art Experimental Band to the rock kids.
I played it at the Roxy.
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 Axelrod. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Avey Tare & Kría Brekkan,
The West Coast Pop Art Experimental Band,
The Music Machine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Niagra,
Buzzcocks,
Rapeman,
E-Dancer,
Talk Talk,
A Certain Ratio,
Jawbox,
KRS-One,
Skriet,
Graham Central Station,
Soul II Soul,
Blake Baxter,
A Flock of Seagulls,
Dark Day,
The Gun Club,
Al Stewart,
The Neon Judgement,
Dorothy Ashby,
Dead Boys,
Lyres,
The Raincoats,
Mr. Review,
JFA,
Kaleidoscope,
The Vogues,
Moss Icon,
Agent Orange,
Jesper Dahlback,
Terror Squad Feat. Camron,
Ultramagnetic MC's,
John Cale,
Jeff Mills,
Camouflage,
James White and The Blacks,
Soft Cell,
FM Einheit,
Nation of Ulysses,
the Human League,
MC5,
Lafayette Afro Rock Band,
Sad Lovers and Giants,
Newcleus,
The Dirtbombs,
Rhythim Is Rhythim,
Scott Walker,
Wings,
Little Man,
Rites of Spring,
The Sonics,
The Sisters of Mercy,
Public Image Ltd.,
Aural Exciters,
Arthur Verocai,
Peter & Gordon,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.