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 Saudi Arabia and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1975.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 sitar 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 New Age Steppers to the crunk kids.
I played it at the Hacienda.
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 Carl Craig. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Kurtis Blow,
Absolute Body Control,
Kings Of Tomorrow,
Liaisons Dangereuses,
Urselle,
Robert Görl,
Jeru the Damaja,
Rhythim Is Rhythim,
Andrew Ashong & Theo Parrish,
The Grass Roots,
Con Funk Shun,
Lucky Dragons,
Archie Shepp,
Fugazi,
Derrick Morgan,
Theoretical Girls,
Monks,
Boredoms,
The Residents,
Delon & Dalcan,
Mandrill,
Harry Pussy,
The Young Rascals,
Sonny Sharrock,
Black Bananas,
Erasure,
Anakelly,
Josef K,
Eli Mardock,
Kaleidoscope,
The Last Poets,
MDC,
Bauhaus,
Lee Hazlewood,
Chrome,
Nik Kershaw,
Yaz,
Aural Exciters,
Easy Going,
Bootsy's Rubber Band,
Man Eating Sloth,
Donny Hathaway,
Deakin,
Cheater Slicks,
Unwound,
Warsaw,
Jimmy McGriff,
Bobby Sherman,
Joensuu 1685,
Camouflage,
Flipper,
Peter Gordon & Love of Life Orchestra,
Faraquet,
Robert Hood,
Eyeless In Gaza,
Simply Red,
Jesper Dahlback,
Avey Tare,
Mo-Dettes,
Wings,
Scion,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.