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 Brazil and from Edmonton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Accra.
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 harpsichord 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 Bluetip to the jazz kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every ABBA 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
MC5,
Lou Christie,
Absolute Body Control,
The Doors,
Fela Kuti,
Bush Tetras,
Pagans,
X-102,
Peter and Kerry,
In Retrospect,
The Sound,
The Stooges,
Ossler,
Wally Richardson,
Scratch Acid,
Jandek,
Barrington Levy,
Hardrive,
E-Dancer,
Ajijia Myrayebe,
The Red Krayola,
Teenage Jesus and the Jerks,
Carl Craig,
Duran Duran,
Minutemen,
Visage,
Gabor Szabo,
The Fortunes,
The Angels of Light,
Eric B and Rakim,
Infiniti,
Man Parrish,
David Bowie,
Joensuu 1685,
Soulsonic Force,
Kas Product,
Johnny Clarke,
The Dirtbombs,
Big Daddy Kane,
The Star Department,
Fugazi,
Dead Boys,
B.T. Express,
Bill Near,
The Gories,
Nirvana,
Los Fastidios,
Bootsy Collins,
Peter Gordon & Love of Life Orchestra,
Idris Muhammad,
Aural Exciters,
Ultimate Spinach,
Scrapy,
Organ,
The Fire Engines,
The Five Americans,
Lou Reed & John Cale,
Boogie Down Productions,
Steve Hackett,
Reuben Wilson,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.