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 New Zealand and from Accra.
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 1969 to 1970.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Beijing 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 sitar 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 Hasil Adkins to the grime kids.
I played it at Trash.
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 the Fania All-Stars tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Vaughan Mason & Crew,
Throbbing Gristle,
Drive Like Jehu,
Newcleus,
Captain Beefheart & His Magic Band,
The Sisters of Mercy,
Sight & Sound,
Bang on a Can All-Stars,
Sonic Youth,
Avey Tare & Kría Brekkan,
Angels of Light & Akron/Family,
The Names,
The Raincoats,
Fugazi,
Cybotron,
June Days,
Marcia Griffiths,
Girls At Our Best!,
Glenn Branca,
Skarface,
Crash Course in Science,
Marmalade,
Jacques Brel,
Jeru the Damaja,
Fluxion,
Masters at Work,
The Misunderstood,
Fatback Band,
The Smoke,
cv313,
Faust,
Gil Scott Heron,
Mars,
David Axelrod,
Shoche,
Massinfluence,
Matthew Halsall,
Johnny Osbourne,
The Chocolate Watch Band,
Joe Smooth,
Negative Approach,
Smog,
Donny Hathaway,
Fat Boys,
Connie Case,
MDC,
Guru Guru,
the Germs,
The Sound,
Pylon,
Pere Ubu,
Donald Byrd,
Gil Scott-Heron & Brian Jackson,
D'Angelo,
Gang Green,
Alison Limerick,
In Retrospect,
Fela Kuti,
Cluster,
Joy Division,
Severed Heads,
OOIOO,
Lyres,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.