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 Turkey and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
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 arpeggiator 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 Graham Central Station to the disco kids.
I played it at the Troubador.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Albert Ayler,
Suburban Knight,
Rowland S Howard / Lydia Lunch,
Ultravox,
Liaisons Dangereuses,
the Bar-Kays,
The Seeds,
K-Klass,
Basic Channel,
The Wake,
Eric Dolphy,
Grey Daturas,
Leonard Cohen,
The Offenders,
Pylon,
Grandmaster Flash,
The Selecter,
Thinking Fellers Union Local 282,
Organ,
Piero Umiliani,
Bobbi Humphrey,
Newcleus,
Accadde A,
The Motions,
Radiopuhelimet,
Vainqueur,
The Techniques,
Lebanon Hanover,
Kaleidoscope,
Gil Scott-Heron & Brian Jackson,
The Standells,
Blake Baxter,
Matthew Bourne,
Trumans Water,
Flash Fearless,
The Knickerbockers,
Index,
Hasil Adkins,
Wighnomy Brothers & Robag Wruhme,
Underground Resistance,
Robert Hood,
Oneida,
Girls At Our Best!,
The Fortunes,
Altered Images,
Desert Stars,
Avey Tare & Kría Brekkan,
Al Stewart,
Theoretical Girls,
The Detroit Cobras,
Smog,
Hot Snakes,
Mr. Review,
Royal Trux,
The Grass Roots,
The Five Americans,
London Community Gospel Choir,
The Fugs,
Henry Cow,
Delta 5,
Q65,
Nas, Nas, Nas, Nas.
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.