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 Syria and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Sao Paulo 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 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 Pagans to the rap kids.
I played it at the Roxy.
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 Liaisons Dangereuses. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
The Index,
Rahsaan Roland Kirk,
Patti Smith,
Absolute Body Control,
Crooked Eye,
Alton Ellis,
Monolake,
Eli Mardock,
Los Fastidios,
The Move,
John Foxx,
Thompson Twins,
Excepter,
Mission of Burma,
Motorama,
the Bar-Kays,
Sun Ra Arkestra,
Yellowson,
Kango’s Stein Massive,
The Neon Judgement,
Henry Cow,
Sonic Youth,
Prince Buster,
Wasted Youth,
Bizarre Inc.,
Thee Headcoats,
Wolf Eyes,
Sight & Sound,
Roy Ayers Ubiquity,
Faraquet,
Freddie Wadling,
Bad Manners,
Sad Lovers and Giants,
The Victims,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Fat Boys,
Flamin' Groovies,
David McCallum,
It's A Beautiful Day,
Schoolly D,
Maurizio,
The Cowsills,
Stockholm Monsters,
Adolescents,
Marvin Gaye,
Jacob Miller,
Mark Hollis,
Jesper Dahlbäck,
Roxette,
Ohio Players,
Lower 48,
the Soft Cell,
Robert Görl,
Essential Logic,
Chris & Cosey,
DeepChord presents Echospace,
Peter and Kerry,
Mad Mike,
X-Ray Spex,
Funkadelic,
the Slits,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.