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 Liechtenstein and from Taipei.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Moby Grape to the funk kids.
I played it at CBGB's.
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 Scott Walker. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Leonard Cohen 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Ultravox,
Alice Coltrane,
DNA,
Brothers Johnson,
Alton Ellis,
Gang of Four,
Parry Music,
Cymande,
Thompson Twins,
CMW,
Kings Of Tomorrow,
Soft Cell,
The Searchers,
Be Bop Deluxe,
Grauzone,
Electric Light Orchestra,
Eli Mardock,
Crispian St. Peters,
The Move,
The Moody Blues,
Desert Stars,
Rekid,
Sexual Harrassment,
John Coltrane,
Make Up,
Connie Case,
Average White Band,
Robert Wyatt,
Brand Nubian,
Roy Ayers,
Pet Shop Boys,
Susan Cadogan,
The Monochrome Set,
Amon Düül II,
The Selecter,
Mark Hollis,
The Remains,
kango's stein massive,
Boredoms,
Symarip,
Chrome,
Captain Beefheart & His Magic Band,
L. Decosne,
Faraquet,
Spoonie Gee,
Jacob Miller,
Sticky Fingaz feat. Raekwon,
Gil Scott-Heron and Jamie xx,
Slick Rick,
The Smoke,
The Cramps,
FM Einheit,
The Human League,
MC5,
Throbbing Gristle,
Eden Ahbez,
the Bar-Kays,
MDC,
Marine Girls,
The Techniques,
Infiniti,
Bootsy's Rubber Band,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.