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 Kyrgyzstan and from Houston.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Paris.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Alice Coltrane to the rap kids.
I played it at the Troubador.
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 Porter Ricks. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Sight & Sound,
The Trojans,
Stockholm Monsters,
The Sound,
Johnny Clarke,
Monolake,
Grandmaster Flash and the Furious Five,
The Fortunes,
Nik Kershaw,
Gil Scott Heron,
Negative Approach,
Visage,
Bob Dylan,
Sixth Finger,
The Sonics,
Clear Light,
Arthur Verocai,
The Litter,
Todd Terry,
Flash Fearless,
Desert Stars,
The New Christs,
CMW,
Depeche Mode,
the Germs,
Justin Hinds & The Dominoes,
KRS-One,
Man Parrish,
Gong,
T.S.O.L.,
Public Enemy,
Tom Boy,
New Order,
The Fuzztones,
Ornette Coleman,
Khruangbin,
The Invisible,
Zapp,
The Angels of Light,
Yusef Lateef,
Cal Tjader,
John Cale,
Johnny Osbourne,
Sexual Harrassment,
Gil Scott-Heron & Brian Jackson,
Ice-T,
Unrelated Segments,
8 Eyed Spy,
Accadde A,
Hot Snakes,
Stereo Dub,
Deutsch Amerikanische Freundschaft,
Dave Gahan,
Echospace,
Man Eating Sloth,
It's A Beautiful Day,
Sun City Girls,
The Fire Engines,
Can, Can, Can, Can.
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.