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 Laos and from Paris.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1971.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school New York 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 snare sounds with much patience.
I was there when Robert Palmer 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 Underground Resistance to the funk 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 The Skatalites. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Panda Bear record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
David McCallum,
The Sonics,
Brand Nubian,
Eurythmics,
Fela Kuti,
Index,
Yusef Lateef,
Jimmy McGriff,
Nils Olav,
Tomorrow,
Schoolly D,
B.T. Express,
London Community Gospel Choir,
Sister Nancy,
The Associates,
Jesper Dahlback,
The Skatalites,
The Golliwogs,
The Royal Family And The Poor,
The Cowsills,
CMW,
Ohio Players,
Bobbi Humphrey,
Amon Düül,
The Real Kids,
James White and The Blacks,
Interpol,
World's Most,
X-102,
Rekid,
Das Ding,
The Doobie Brothers,
Lebanon Hanover,
Boz Scaggs,
James Chance & The Contortions,
Moebius,
Bootsy's Rubber Band,
Model 500,
Harpers Bizarre,
Alison Limerick,
The Alarm Clocks,
Kenny Larkin,
Ash Ra Tempel,
Sixth Finger,
Angels of Light & Akron/Family,
Kauko Röyhkä ja Narttu,
Man Eating Sloth,
Nick Cave & The Bad Seeds,
U.S. Maple,
Big Daddy Kane,
The Cramps,
The Zeros,
Brass Construction,
Lalo Schifrin,
Barry Ungar,
Alton Ellis,
MDC,
The Slits,
Kas Product,
The Gladiators,
Masters at Work,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.