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 Libya and from Woodstock.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Stockholm 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 clarinet sounds with much patience.
I was there when David Bowie 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 Erykah Badu to the punk 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 Monks. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Green,
The Birthday Party,
Mr. Review,
Roxette,
DNA,
Wire,
E-Dancer,
Basic Channel,
Aaron Thompson,
The Selecter,
Kool G Rap & DJ Polo,
Slave,
Jeru the Damaja,
Archie Shepp,
Man Eating Sloth,
Gang of Four,
Y Pants,
Yellowson,
Sarah Menescal,
Delta 5,
The Grass Roots,
Flamin' Groovies,
Ultramagnetic MC's,
Vaughan Mason & Crew,
Teenage Jesus and the Jerks,
Brick,
Symarip,
Cluster,
Dawn Penn,
Magazine,
The Pop Group,
The United States of America,
Ludus,
Nation of Ulysses,
Lyres,
Reuben Wilson,
Bad Manners,
Little Man,
Sex Pistols,
David Axelrod,
Avey Tare's Slasher Flicks,
The Electric Prunes,
Dual Sessions,
Richard Hell and the Voidoids,
Chris Corsano,
Matthew Halsall,
Judy Mowatt,
Gil Scott-Heron and Jamie xx,
Funky Four + One,
Tim Buckley,
Pet Shop Boys,
Robert Hood,
The Names,
Ken Boothe,
Sandy B,
Cal Tjader,
Althea and Donna,
Gastr Del Sol,
Goldenarms,
The Neon Judgement,
Kayak,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.