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 Tuvalu and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1961 to 1974.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Sao Paulo 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 David Bowie 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 Normal to the rock kids.
I played it at the Spitz.
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 J.B.'s. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every Yusef Lateef 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
K-Klass,
Suicide,
The Gories,
Smog,
Oppenheimer Analysis,
The Pop Group,
Hoover,
Tropical Tobacco,
David Axelrod,
T.S.O.L.,
Fifty Foot Hose,
Lalann,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Charles Mingus,
Motorama,
FM Einheit,
A Certain Ratio,
The Cure,
Tears for Fears,
The Kinks,
The Slackers,
The Sisters of Mercy,
Godley & Creme,
Lalo Schifrin,
Mary Jane Girls,
Television Personalities,
Franke,
Hardrive,
the Soft Cell,
Drexciya,
The Neon Judgement,
The Techniques,
Wolf Eyes,
Sly & The Family Stone,
Wally Richardson,
Severed Heads,
The Toasters,
Index,
Pet Shop Boys,
The Doors,
Joyce Sims,
Rekid,
Monolake,
Bobbi Humphrey,
Flamin' Groovies,
Unrelated Segments,
The Skatalites,
Faust,
DNA,
The Seeds,
Bootsy's Rubber Band,
Urselle,
Essential Logic,
a-ha,
Gabor Szabo,
Rosa Yemen,
Mission of Burma,
Heavy D & The Boyz,
Magma,
John Cale,
The Real Kids,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.