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 Solomon Islands and from Columbus.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Accra.
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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Soulsonic Force to the electroclash 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 The Last Poets. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Crime 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 '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Interpol,
Excepter,
cv313,
Half Japanese,
Sly & The Family Stone,
The Fall,
Sparks,
Major Organ And The Adding Machine,
Liaisons Dangereuses,
Stereo Dub,
Aaron Thompson,
Roy Ayers,
Scion,
Peter and Kerry,
The Selecter,
Rapeman,
Blake Baxter,
The Busters,
Robert Hood,
Kool G Rap & DJ Polo,
Barry Ungar,
Pete Rock & C.L. Smooth,
Delon & Dalcan,
Nico,
The Cosmic Jokers,
Rites of Spring,
Ralphi Rosario,
Crash Course in Science,
Radio Birdman,
Echospace,
Youth Brigade,
Angels of Light & Akron/Family,
Amazonics,
Amon Düül II,
Eden Ahbez,
Blossom Toes,
Stetsasonic,
Harmonia,
Carl Craig,
Index,
Scratch Acid,
Lalo Schifrin,
Mission of Burma,
H. Thieme,
the Slits,
Jerry's Kids,
The Happenings,
Eyeless In Gaza,
Lonnie Liston Smith,
The Cramps,
Derrick May,
Morten Harket,
Lebanon Hanover,
Joyce Sims,
EPMD,
Hardrive,
Gerry Rafferty,
Gang of Four,
Pantytec,
The Count Five,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.