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 Macedonia and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1972.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 The Skatalites to the jazz 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 Loose Ends. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Panda Bear,
Country Teasers,
Lindisfarne,
Skarface,
Fluxion,
Hashim,
Brick,
The Fuzztones,
Theoretical Girls,
The Saints,
Clear Light,
Jeru the Damaja,
Sad Lovers and Giants,
Stockholm Monsters,
F. McDonald,
Chris & Cosey,
Jesper Dahlback,
the Swans,
Alton Ellis,
The Angels of Light,
Nick Fraelich,
Circle Jerks,
Tommy Roe,
Procol Harum,
Bauhaus,
Idris Muhammad,
Rotary Connection,
Nation of Ulysses,
Marc Almond,
Notorious BIG live in Amsterdam,
Soulsonic Force,
the Slits,
T. Rex,
Gian Franco Pienzio,
Roy Ayers Ubiquity,
Crispian St. Peters,
Marvin Gaye,
Matthew Halsall,
Althea and Donna,
Stiv Bators,
Fatback Band,
Can,
The Techniques,
Piero Umiliani,
Delon & Dalcan,
Black Moon,
The Walker Brothers,
Pierre Henry,
It's A Beautiful Day,
Loose Ends,
Bobby Womack,
The Velvet Underground,
Metal Thangz,
Marcia Griffiths,
Pantaleimon,
The Cure,
Jeff Mills,
Danielle Patucci,
Oppenheimer Analysis,
Cheater Slicks,
The Seeds, The Seeds, The Seeds, The Seeds.
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.