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 Haiti and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Paris 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Pete Rock & C.L. Smooth to the jazz kids.
I played it at the Spitz.
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 Grey Daturas. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Bush Tetras,
JFA,
U.S. Maple,
Pet Shop Boys,
AZ,
Siglo XX,
R.M.O.,
Q and Not U,
Icehouse,
The Velvet Underground,
Country Teasers,
Marc Romboy vs. Booka Shade,
June Days,
London Community Gospel Choir,
Kas Product,
Nas,
Deepchord,
cv313,
Mo-Dettes,
Rakim,
X-102,
Avey Tare's Slasher Flicks,
Eli Mardock,
Junior Murvin,
Yazoo,
Toni Rubio,
Marc Almond,
Isaac Hayes,
Robert Wyatt,
The Tremeloes,
Eric B and Rakim,
Jesper Dahlback,
Cal Tjader,
Loose Ends,
The Royal Family And The Poor,
The Count Five,
Funkadelic,
The Peanut Butter Conspiracy,
Deutsch Amerikanische Freundschaft,
New York Dolls,
The Sound,
Moebius,
Clear Light,
The Walker Brothers,
Sex Pistols,
Malaria!,
Charles Mingus,
Röyhkä ja Rättö ja Lehtisalo,
Jawbox,
Aloha Tigers,
KRS-One,
Stockholm Monsters,
Radio Birdman,
Red Lorry Yellow Lorry,
Inner City,
The Doors,
Freddie Wadling,
The Remains,
Lou Reed & John Cale,
Yellowson,
This Heat,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.