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 Fiji and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Copenhagen and Bologna.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Cluster to the grime kids.
I played it at the Spitz.
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 Lucky Dragons. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Albert Ayler 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
The Men They Couldn't Hang,
Gil Scott Heron,
Rekid,
John Holt,
Mandrill,
Yaz,
Motorama,
The Dirtbombs,
Japan,
Lakeside,
The Cowsills,
Absolute Body Control,
The Last Poets,
Jimmy McGriff,
Wighnomy Brothers & Robag Wruhme,
Jeru the Damaja,
A Flock of Seagulls,
Soft Cell,
The Beau Brummels,
Chris Corsano,
Rites of Spring,
The Jesus and Mary Chain,
Minor Threat,
Lafayette Afro Rock Band,
Radiohead,
The Zeros,
Jeff Lynne,
Bootsy Collins,
Gichy Dan,
David McCallum,
Sällskapet,
L. Decosne,
Simply Red,
Cecil Taylor,
Alison Limerick,
Grey Daturas,
Gang Gang Dance,
KRS-One,
Pierre Henry,
The Slits,
Siglo XX,
Khruangbin,
Albert Ayler,
The New Christs,
The United States of America,
Cal Tjader,
Bang On A Can,
X-102,
Glambeats Corp.,
Parry Music,
Sad Lovers and Giants,
Unwound,
Country Joe & The Fish,
Aloha Tigers,
Accadde A,
Scratch Acid,
Fear,
Au Pairs,
Section 25,
Eric B and Rakim,
Barclay James Harvest,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.