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 United Kingdom and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Milan 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 at the first Suicide practice in a loft in New York.
I was working on the mellotron 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 Joey Negro to the grunge kids.
I played it at the Troubador.
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 Smog. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Neil Young,
Shoche,
the Slits,
Bootsy Collins,
Josef K,
Barry Ungar,
Nik Kershaw,
Blake Baxter,
LL Cool J,
Groovy Waters,
the Bar-Kays,
Red Lorry Yellow Lorry,
Neil Young & Crazy Horse,
Angry Samoans,
The Alarm Clocks,
Minor Threat,
The Sisters of Mercy,
Johnny Clarke,
Cameo,
Shuggie Otis,
Kango’s Stein Massive,
Dead Boys,
Marc Almond,
Danielle Patucci,
Albert Ayler,
Siglo XX,
The Move,
Wighnomy Brothers & Robag Wruhme,
The Seeds,
Smog,
Radiohead,
Unwound,
Warsaw,
John Lydon,
Au Pairs,
Althea and Donna,
Byron Stingily,
Archie Shepp,
Metal Thangz,
Ituana,
the Germs,
The Barracudas,
Black Flag,
Sun Ra,
Bill Wells,
Grandmaster Flash and the Furious Five,
Roxy Music,
Yusef Lateef,
Mad Mike,
Manfred Mann's Earth Band,
Bill Near,
the Association,
The West Coast Pop Art Experimental Band,
Nas,
Ornette Coleman,
The Saints,
The Music Machine,
Skarface,
Visionaries,LMNO, T- Love & Iriscience,
The Raincoats,
Monks,
Nation of Ulysses,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.