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 Malaysia and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Mumbai 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 Nile Rodgers 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 Scratch Acid to the crunk 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 Selector Dub Narcotic. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
The Happenings,
Television,
Mr. Review,
Chris & Cosey,
Massinfluence,
The Last Poets,
Kool G Rap & DJ Polo,
a-ha,
Royal Trux,
Moss Icon,
the Slits,
Don Cherry,
Roger Hodgson,
AZ,
Aural Exciters,
Barclay James Harvest,
Hasil Adkins,
Sugar Minott,
Heaven 17,
Kenny Larkin,
Severed Heads,
Minny Pops,
The Divine Comedy,
Sällskapet,
Dr. Dre and Snoop Doggy Dog,
The Raincoats,
Glambeats Corp.,
Arthur Verocai,
Black Flag,
Rufus Thomas,
Saccharine Trust,
The Searchers,
Oblivians,
Pierre Henry,
Boogie Down Productions,
Gang Starr,
Kaleidoscope,
Brothers Johnson,
R.M.O.,
Roxette,
Fifty Foot Hose,
Skarface,
The Skatalites,
Arab on Radar,
Bobby Sherman,
Terry Callier,
Sad Lovers and Giants,
Interpol,
The Dave Clark Five,
Tres Demented,
Amon Düül II,
Tomorrow,
Basic Channel,
the Human League,
Steve Hackett,
The Pretty Things,
Brass Construction,
Essential Logic,
Theoretical Girls,
Derrick Morgan,
ABBA,
Little Man, Little Man, Little Man, Little Man.
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.