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 Lille.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school New York 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 marimba 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 Q and Not U to the punk 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 R.M.O.. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Fear record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Pere Ubu,
The Divine Comedy,
Niagra,
Amazonics,
Deadbeat,
Wolf Eyes,
Cymande,
Urselle,
Eric Dolphy,
X-Ray Spex,
Tropical Tobacco,
Royal Trux,
Barrington Levy,
Symarip,
The Dead C,
Amon Düül II,
The Misunderstood,
Los Fastidios,
The West Coast Pop Art Experimental Band,
Alison Limerick,
The Offenders,
It's A Beautiful Day,
Ronan,
Wighnomy Brothers & Robag Wruhme,
Funky Four + One,
Bobby Byrd,
Joey Negro,
Delta 5,
Grandmaster Flash and the Furious Five,
LL Cool J,
The Gories,
Fat Boys,
The United States of America,
Patti Smith,
Black Pus,
Tears for Fears,
Matthew Halsall,
Arcadia,
Trumans Water,
Arthur Verocai,
Theoretical Girls,
F. McDonald,
Avey Tare's Slasher Flicks,
Traffic Nightmare,
Organ,
The Human League,
Clear Light,
Spandau Ballet,
Tommy Roe,
The Doobie Brothers,
Television Personalities,
Red Lorry Yellow Lorry,
Saccharine Trust,
Kerrie Biddell,
Groovy Waters,
Kayak,
The Raincoats,
Tubeway Army,
Todd Rundgren,
Kurtis Blow,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.