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 Paraguay and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
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 chamberlin 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 Major Organ And The Adding Machine to the jazz kids.
I played it at the Spitz.
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 Sarah Menescal tracks. I heard you have a vinyl of every Soft Cell 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Ice-T,
Sparks,
Eddi Front,
Clear Light,
The Moleskins,
Kayak,
Minutemen,
The Young Rascals,
Urselle,
Boredoms,
Teenage Jesus and the Jerks,
Stiv Bators,
Blancmange,
Avey Tare's Slasher Flicks,
Index,
Cheater Slicks,
A Certain Ratio,
Bizarre Inc.,
Nick Cave & The Bad Seeds,
The Saints,
Funky Four + One,
Kerri Chandler,
Rosa Yemen,
a-ha,
Terrestrial Tones,
Sam Rivers,
Man Eating Sloth,
Matthew Bourne,
Country Joe & The Fish,
The Pretty Things,
Infiniti,
Marmalade,
David Axelrod,
Mars,
Wire,
Lizzy Mercier Descloux,
Stockholm Monsters,
Barbara Tucker,
X-102,
Brothers Johnson,
FM Einheit,
Nation of Ulysses,
Tomorrow,
Jeff Lynne,
Dennis Brown,
The Sisters of Mercy,
Bobby Byrd,
Notorious Big And Bone Thugs,
Jeru the Damaja,
Gong,
The Monks,
The Dead C,
cv313,
Curtis Mayfield,
Janne Schatter,
Negative Approach,
Warsaw,
Suburban Knight,
Nirvana,
China Crisis,
Parry Music, Parry Music, Parry Music, Parry Music.
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.