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 Equatorial Guinea and from Sao Paulo.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Spokane and Winnipeg.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 Crispian St. Peters to the techno kids.
I played it at the 40 Watt.
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 The J.B.'s. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Smog,
Roxy Music,
Cameo,
Lebanon Hanover,
Flash Fearless,
Brand Nubian,
Audionom,
Aural Exciters,
The Invisible,
Boogie Down Productions,
Yaz,
Kerrie Biddell,
Duran Duran,
Fort Wilson Riot,
The Buckinghams,
Scratch Acid,
Slave,
Sound Behaviour,
Grauzone,
Banda Bassotti,
Archie Shepp,
Drive Like Jehu,
Negative Approach,
Lucky Dragons,
Faraquet,
Radio Birdman,
Siglo XX,
Easy Going,
Joyce Sims,
Marshall Jefferson,
Circle Jerks,
Warsaw,
Tears for Fears,
DNA,
Jerry's Kids,
The Busters,
Andrew Hill,
Joey Negro,
Piero Umiliani,
Roy Ayers,
The Fire Engines,
The Gun Club,
The J.B.'s,
The Evens,
Icehouse,
Gian Franco Pienzio,
Camberwell Now,
Public Image Ltd.,
R.M.O.,
Scion,
The Techniques,
Curtis Mayfield,
Kaleidoscope,
K-Klass,
Mandrill,
Liaisons Dangereuses,
Freddie Wadling,
Surgeon,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.