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 Venezuela and from London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Sunsets and Hearts to the grunge 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 Deakin. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Bootsy Collins,
Rufus Thomas,
Lyres,
The Mojo Men,
The Birthday Party,
Todd Rundgren,
Reagan Youth,
The Flesh Eaters,
Mark Hollis,
Tim Buckley,
This Heat,
Kool Moe Dee,
Arthur Verocai,
Gary Puckett & The Union Gap,
The Cramps,
Fatback Band,
Crispy Ambulance,
Wire,
One Last Wish,
Funky Four + One,
Kings Of Tomorrow,
Lee Hazlewood,
Rowland S Howard / Lydia Lunch,
Lower 48,
Crispian St. Peters,
John Coltrane,
The Real Kids,
Harry Pussy,
Pagans,
Eric Copeland,
Hashim,
The Evens,
Stetsasonic,
Essential Logic,
Crime,
Boogie Down Productions,
Talk Talk,
Fort Wilson Riot,
Ornette Coleman,
EPMD,
Frankie Knuckles,
Tomorrow,
Brand Nubian,
Bang On A Can,
Fela Kuti,
Mission of Burma,
Notorious BIG live in Amsterdam,
Eyeless In Gaza,
Warsaw,
Kool G Rap & DJ Polo,
Swell Maps,
Das Ding,
Liaisons Dangereuses,
Lou Christie,
Curtis Mayfield,
D'Angelo,
A Flock of Seagulls,
The Wake,
Thompson Twins,
Underground Resistance,
Flash Fearless,
Alice Coltrane,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.