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 Bolivia and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Toronto.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Tropical Tobacco to the grime kids.
I played it at the Hacienda.
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 Pylon. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Joyce Sims,
Godley & Creme,
New Order,
The Martian,
Gil Scott-Heron & Brian Jackson,
Archie Shepp,
Warren Ellis,
The Pretty Things,
Howard Jones,
Thinking Fellers Union Local 282,
Johnny Clarke,
Oblivians,
Jimmy McGriff,
John Holt,
Bad Manners,
The Remains,
Radiohead,
LL Cool J,
Pylon,
Duran Duran,
Fugazi,
Byron Stingily,
KRS-One,
Simply Red,
Aswad,
Glambeats Corp.,
Crispian St. Peters,
Monolake,
Hot Snakes,
Idris Muhammad,
Blossom Toes,
Jacques Brel,
8 Eyed Spy,
Andrew Ashong & Theo Parrish,
Man Parrish,
Skarface,
Monks,
Second Layer,
Sly & The Family Stone,
Nick Fraelich,
Eric B and Rakim,
Sound Behaviour,
Ituana,
The Pop Group,
Black Bananas,
MDC,
Gregory Isaacs,
Teenage Jesus and the Jerks,
Faraquet,
Gang Green,
Bobby Hutcherson,
Swell Maps,
Ultravox,
The Searchers,
Marvin Gaye,
Lee Hazlewood,
Underground Resistance,
Electric Prunes,
The Move,
Black Flag,
L. Decosne,
Barbara Tucker,
Visage, Visage, Visage, Visage.
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.