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 Tehran.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1970.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Milan 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 guitar 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 Liliput to the grunge 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 Bad Manners. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace 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?
The Jesus and Mary Chain,
Janne Schatter,
Ronan,
the Bar-Kays,
Tropical Tobacco,
Average White Band,
The Skatalites,
Yellowson,
Sandy B,
Pussy Galore,
the Association,
Pharaoh Sanders and the Fire Engines,
Blancmange,
Moby Grape,
The Fall,
Judy Mowatt,
Carl Craig,
Bobby Hutcherson,
Kerrie Biddell,
Alice Coltrane,
Howard Jones,
Barclay James Harvest,
Tomorrow,
Kaleidoscope,
Sugar Minott,
Mo-Dettes,
Gang of Four,
Spandau Ballet,
Scott Walker,
Radio Birdman,
Crispian St. Peters,
John Coltrane,
Guru Guru,
the Fania All-Stars,
Magma,
Lou Reed,
Lucky Dragons,
World's Most,
The Beau Brummels,
Gerry Rafferty,
The Five Americans,
Sexual Harrassment,
Soul Sonic Force,
Roxy Music,
The Red Krayola,
The Tremeloes,
Red Lorry Yellow Lorry,
Dawn Penn,
Teenage Jesus and the Jerks,
Freddie Wadling,
Aural Exciters,
The Mighty Diamonds,
Frankie Knuckles,
Justin Hinds & The Dominoes,
Lee Hazlewood,
Bobby Sherman,
the Germs,
Andrew Ashong & Theo Parrish,
Sonic Youth,
Second Layer,
Skaos,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.