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 Pakistan and from Houston.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
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 Liliput to the dance 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 Jeru the Damaja. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Grey Daturas,
Tomorrow,
Swell Maps,
Carl Craig,
Matthew Halsall,
Lou Reed & Metallica,
The Royal Family And The Poor,
Tears for Fears,
KRS-One,
Amon Düül II,
48th St. Collective,
Lou Christie,
The Jesus and Mary Chain,
Los Fastidios,
Cymande,
Man Parrish,
the Fania All-Stars,
Althea and Donna,
Howard Jones,
Slick Rick,
Red Lorry Yellow Lorry,
Curtis Mayfield,
Mad Mike,
Bush Tetras,
Gabor Szabo,
James White and The Blacks,
Lizzy Mercier Descloux,
Sam Rivers,
The Angels of Light,
the Germs,
Metal Thangz,
Eric Dolphy,
Popol Vuh,
Pere Ubu,
The Pop Group,
Spoonie Gee,
La Düsseldorf,
Lou Reed & John Cale,
Jeru the Damaja,
Desert Stars,
Young Marble Giants,
Warsaw,
Crispy Ambulance,
Gil Scott Heron,
The Fuzztones,
Aloha Tigers,
The Motions,
Shuggie Otis,
Idris Muhammad,
New York Dolls,
The Names,
Jerry Gold Smith,
Thompson Twins,
Porter Ricks,
Clear Light,
Deakin,
The Fortunes,
Interpol,
Black Pus,
In Retrospect,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.