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 Ivory Coast and from Edmonton.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1978.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Winnipeg 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Deakin 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 Matthew Halsall. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Deakin,
Gil Scott-Heron and Jamie xx,
The Dead C,
a-ha,
A Flock of Seagulls,
Section 25,
Nick Fraelich,
The Mojo Men,
Q65,
Röyhkä ja Rättö ja Lehtisalo,
Minor Threat,
Wire,
Barry Ungar,
Glambeats Corp.,
Hot Snakes,
Robert Görl,
Television,
Fear,
Jacob Miller,
Inner City,
Zero Boys,
Bad Manners,
Sonny Sharrock,
The Gap Band,
Dorothy Ashby,
Parry Music,
Adolescents,
Scan 7,
Loose Ends,
Sarah Menescal,
Khruangbin,
The Move,
Subhumans,
Sugar Minott,
cv313,
Roger Hodgson,
the Association,
The Electric Prunes,
Talk Talk,
Nas,
Zapp,
Soft Cell,
Lonnie Liston Smith,
Ornette Coleman,
Altered Images,
Joensuu 1685,
the Bar-Kays,
Maleditus Sound,
Con Funk Shun,
Cameo,
The Peanut Butter Conspiracy,
New York Dolls,
The Grass Roots,
Mad Mike,
Pagans,
The Monochrome Set,
Sixth Finger,
Gary Puckett & The Union Gap,
John Coltrane,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.