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 Iran and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 1964 to 1975.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Columbus 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 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 The Blackbyrds to the rap kids.
I played it at the 40 Watt.
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 Sonny Sharrock. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Crime,
Camron Feat. Memphis Bleek And Beenie Seigel,
Banda Bassotti,
Soft Cell,
DJ Sneak,
Leonard Cohen,
Echospace,
Anakelly,
Monolake,
Easy Going,
Spandau Ballet,
Selector Dub Narcotic,
John Foxx,
Joy Division,
Sly & The Family Stone,
Warren Ellis,
The Count Five,
Drexciya,
The Fuzztones,
Jeff Lynne,
Peter and Kerry,
The Peanut Butter Conspiracy,
Los Fastidios,
Stiv Bators,
Camberwell Now,
The Cosmic Jokers,
Justin Hinds & The Dominoes,
Outsiders,
The Monks,
Pharaoh Sanders and the Fire Engines,
Smog,
Tim Buckley,
Pet Shop Boys,
Slick Rick,
Jimmy McGriff,
Jerry Gold Smith,
Camron Feat. Jay Z And Juelz,
Cecil Taylor,
a-ha,
U.S. Maple,
Subhumans,
The Jesus and Mary Chain,
Severed Heads,
Soulsonic Force,
Dorothy Ashby,
Marc Romboy vs. Booka Shade,
Jawbox,
Amazonics,
Duran Duran,
Iggy Pop,
Todd Terry,
Arthur Verocai,
Brick,
KRS-One,
Althea and Donna,
Gil Scott Heron,
Scott Walker,
Lucky Dragons,
X-102,
The Star Department,
Peter Gordon & Love of Life Orchestra,
Skarface,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.