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 Botswana and from Johannesburg.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Edmonton.
I'm losing my edge to the art-school Salvador 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 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 Howard Jones to the grime kids.
I played it at the Astoria.
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 Moleskins. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal techno 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 a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
The Music Machine,
JFA,
Howard Jones,
The Offenders,
Lakeside,
X-101,
The Birthday Party,
Selector Dub Narcotic,
Junior Murvin,
Kaleidoscope,
Dr. Dre and Snoop Doggy Dog,
Jacob Miller,
Slick Rick,
The Royal Family And The Poor,
L. Decosne,
Camberwell Now,
Barry Ungar,
Kayak,
the Swans,
Letta Mbulu,
New Order,
The Monochrome Set,
Pete Rock & C.L. Smooth,
Kings Of Tomorrow,
Lalo Schifrin,
Bad Manners,
Crash Course in Science,
Interpol,
The Blues Magoos,
The Happenings,
Bill Near,
The Standells,
R.M.O.,
Alton Ellis,
Ajijia Myrayebe,
The Wake,
Delon & Dalcan,
The Litter,
Negative Approach,
Black Moon,
Audionom,
The Durutti Column,
Reagan Youth,
Ornette Coleman,
Porter Ricks,
The Doors,
Notorious BIG live in Amsterdam,
Brick,
Sly & The Family Stone,
Tears for Fears,
Japan,
Louis and Bebe Barron,
Wings,
Cabaret Voltaire,
Qualms,
Grandmaster Flash,
Funkadelic,
Stetsasonic,
Davy DMX,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.