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 Mali and from Shanghai.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Jerry Gold Smith to the grunge kids.
I played it at Trash.
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 Ten City. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Agent Orange 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Mission of Burma record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
The Index,
Jeru the Damaja,
Sight & Sound,
The Smoke,
Ken Boothe,
Urselle,
The Tremeloes,
Boogie Down Productions,
Marvin Gaye,
Index,
The Neon Judgement,
Rod Modell,
Todd Terry,
D'Angelo,
the Normal,
Bauhaus,
Black Flag,
The Monochrome Set,
Nik Kershaw,
Minny Pops,
The Five Americans,
Carl Craig,
The Modern Lovers,
Bronski Beat,
Gary Puckett & The Union Gap,
Theoretical Girls,
Cheater Slicks,
Barrington Levy,
Echo & the Bunnymen,
Anakelly,
Harmonia,
New York Dolls,
Marine Girls,
Alton Ellis,
Blake Baxter,
Crash Course in Science,
The Jesus and Mary Chain,
Soul Sonic Force,
Section 25,
Godley & Creme,
Barbara Tucker,
Stockholm Monsters,
Essential Logic,
One Last Wish,
Jandek,
EPMD,
Oblivians,
Loose Ends,
Kango’s Stein Massive,
Notorious Big And Bone Thugs,
U.S. Maple,
Rites of Spring,
Kaleidoscope,
Pylon,
Idris Muhammad,
Basic Channel,
Andrew Ashong & Theo Parrish,
Lou Christie,
Oppenheimer Analysis,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.