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 Trinidad & Tobago and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school London 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 chamberlin 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 Magazine to the punk 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 Terry Callier. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Das Ding 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
The Gun Club,
The Detroit Cobras,
The Royal Family And The Poor,
The Black Dice,
Sarah Menescal,
Althea and Donna,
Amon Düül II,
Harry Pussy,
One Last Wish,
Los Fastidios,
CMW,
Barbara Tucker,
The Kinks,
Index,
Bobby Sherman,
Radio Birdman,
Soul Sonic Force,
the Soft Cell,
Pierre Henry,
John Holt,
Shoche,
Lebanon Hanover,
Talk Talk,
K-Klass,
Quadrant,
Deutsch Amerikanische Freundschaft,
Negative Approach,
Duran Duran,
Joensuu 1685,
Bauhaus,
KRS-One,
Unrelated Segments,
Black Moon,
Eric B and Rakim,
Joey Negro,
Gil Scott-Heron and Jamie xx,
Alison Limerick,
Gang of Four,
The Fortunes,
Lindisfarne,
Sister Nancy,
Agitation Free,
Bobby Womack,
The Gories,
Jesper Dahlbäck,
Ronnie Foster,
Frankie Knuckles,
Kauko Röyhkä ja Narttu,
Country Joe & The Fish,
Dead Boys,
Stereo Dub,
Ken Boothe,
Derrick Morgan,
Brick,
Quando Quango,
Icehouse,
Kango’s Stein Massive,
Aswad,
The Standells,
Crash Course in Science,
Fluxion, Fluxion, Fluxion, Fluxion.
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.