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 Samoa and from Portland.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 808 sounds with much patience.
I was there when Lou Reed 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 Gil Scott-Heron & Brian Jackson to the jazz 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 David Bowie. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal rock 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 a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Gil Scott Heron,
Strawberry Alarm Clock,
Jandek,
Tom Boy,
Lou Reed & Metallica,
the Swans,
Kayak,
Sun Ra Arkestra,
The Men They Couldn't Hang,
Section 25,
R.M.O.,
Ituana,
Crispian St. Peters,
Warsaw,
Joensuu 1685,
Kango’s Stein Massive,
Second Layer,
The Electric Prunes,
Scion,
Kool G Rap & DJ Polo,
Ice-T,
James Chance & The Contortions,
Rapeman,
Man Parrish,
Scratch Acid,
Kool Moe Dee,
The Gap Band,
Cecil Taylor,
10cc,
Fifty Foot Hose,
Freddie Wadling,
Althea and Donna,
Skaos,
The Sisters of Mercy,
The Real Kids,
Malaria!,
The Index,
Faust,
Agent Orange,
Ten City,
Tropical Tobacco,
Lucky Dragons,
B.T. Express,
Boredoms,
The Knickerbockers,
Bobby Womack,
The Black Dice,
Aloha Tigers,
Icehouse,
Matthew Halsall,
The Leaves,
La Düsseldorf,
Jesper Dahlbäck,
The Standells,
The Fortunes,
Flash Fearless,
The Dirtbombs,
John Holt,
Gerry Rafferty,
Oblivians,
ABBA,
Ultramagnetic MC's,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.