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 Belgium and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Monolake to the techno kids.
I played it at Cafe Wha.
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 Howard Jones. All the underground hits.
All Blancmange 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Main Source,
Neil Young & Crazy Horse,
Dark Day,
a-ha,
John Holt,
The Knickerbockers,
A Flock of Seagulls,
Jerry's Kids,
David Bowie,
Ohio Players,
Delta 5,
Bizarre Inc.,
Jacques Brel,
Marc Romboy vs. Booka Shade,
DNA,
Crispian St. Peters,
Pharaoh Sanders and the Fire Engines,
Kurtis Blow,
The Cramps,
Fort Wilson Riot,
Crooked Eye,
Harpers Bizarre,
Pulsallama,
The Pop Group,
Agitation Free,
Boz Scaggs,
The Sound,
Scratch Acid,
Cameo,
Pharoah Sanders,
Swans,
Gastr Del Sol,
Orchestral Manoeuvres in the Dark,
The American Breed,
Kerri Chandler,
The Detroit Cobras,
The Dead C,
EPMD,
Roy Ayers Ubiquity,
Kango’s Stein Massive,
The Human League,
The Music Machine,
Hoover,
Lyres,
the Normal,
Public Enemy,
The Neon Judgement,
Stetsasonic,
Minutemen,
Monks,
Gang Gang Dance,
Hardrive,
Television Personalities,
The Buckinghams,
Joe Finger,
Fugazi,
Bill Wells,
The Tremeloes,
The New Christs,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.