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 Cambodia and from Madrid.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Beijing 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 marimba 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 Pylon to the rock kids.
I played it at Cafe Wha.
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 John Lydon. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Arcadia,
Byron Stingily,
Ultramagnetic MC's,
Notorious Big And Bone Thugs,
cv313,
Pussy Galore,
Kenny Larkin,
Royal Trux,
Pere Ubu,
Black Sheep,
Cybotron,
Masters at Work,
Bobbi Humphrey,
Brick,
Liaisons Dangereuses,
The United States of America,
Deakin,
Howard Jones,
Susan Cadogan,
Robert Wyatt,
The Fire Engines,
The Golliwogs,
Tom Boy,
Siouxsie and the Banshees,
Sly & The Family Stone,
Delon & Dalcan,
A Flock of Seagulls,
The Sonics,
Joensuu 1685,
Sad Lovers and Giants,
Soft Cell,
Art Ensemble Of Chicago,
Pierre Henry,
John Coltrane,
The Invisible,
De La Soul & Jungle Brothers,
Minor Threat,
JFA,
Ajijia Myrayebe,
Fear,
Archie Shepp,
Metal Thangz,
Chris & Cosey,
Monolake,
Lee Hazlewood,
The Smiths,
The Doors,
Colin Newman,
Kurtis Blow,
Gerry Rafferty,
The Wake,
Das Ding,
Tears for Fears,
Jerry's Kids,
Wasted Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Traffic Nightmare,
Liliput,
Todd Rundgren,
The Fugs, The Fugs, The Fugs, The Fugs.
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.