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 United States and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Qualms to the grunge kids.
I played it at the 40 Watt.
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 Kerrie Biddell. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Freddie Wadling 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Roger Hodgson record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Dark Day,
Howard Jones,
Idris Muhammad,
Eric B and Rakim,
Nation of Ulysses,
The Mojo Men,
Deepchord,
The Misunderstood,
The Knickerbockers,
Eric Copeland,
Groovy Waters,
Leonard Cohen,
Absolute Body Control,
The Electric Prunes,
Neil Young & Crazy Horse,
Black Sheep,
Fear,
Man Parrish,
Subhumans,
the Fania All-Stars,
The Neon Judgement,
The Shadows of Knight,
Rod Modell,
Hashim,
Camron Feat. Memphis Bleek And Beenie Seigel,
Television Personalities,
Avey Tare's Slasher Flicks,
Reuben Wilson,
MDC,
One Last Wish,
Adolescents,
Dorothy Ashby,
Glambeats Corp.,
The Wake,
Lyres,
The Count Five,
Guru Guru,
The Dirtbombs,
Mr. Review,
Kool G Rap & DJ Polo,
Flash Fearless,
The Toasters,
Mad Mike,
Wire,
Black Pus,
Faust,
The Victims,
Agent Orange,
Erasure,
Gil Scott-Heron & Brian Jackson,
Joe Smooth,
Bang On A Can,
Ken Boothe,
Pylon,
Amon Düül II,
Electric Light Orchestra,
Gil Scott Heron,
Rhythm & Sound,
Jesper Dahlbäck,
Ralphi Rosario,
Angels of Light & Akron/Family,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.