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 Belarus and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Spokane and Toronto.
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 clarinet sounds with much patience.
I was there when Lou Reed 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 Cymande to the funk kids.
I played it at the Hacienda.
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 The Stooges. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every One Last Wish 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 '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Girls At Our Best!,
The Remains,
Reagan Youth,
Connie Case,
Ituana,
Pussy Galore,
Gary Puckett & The Union Gap,
Jeff Mills,
Ludus,
Albert Ayler,
The Fugs,
The Misunderstood,
Tom Boy,
Qualms,
Sun Ra,
Janne Schatter,
The Angels of Light,
The Cure,
Darondo,
Jerry Gold Smith,
Lalann,
Eric Dolphy,
Kas Product,
Deakin,
Lou Christie,
Avey Tare's Slasher Flicks,
Minnie Riperton,
Kings Of Tomorrow,
Man Eating Sloth,
Skaos,
Model 500,
Sandy B,
The Cowsills,
Fat Boys,
Red Lorry Yellow Lorry,
Make Up,
The Gories,
Moebius,
Black Sheep,
The Zeros,
Beasts of Bourbon,
Derrick Morgan,
Lou Reed & Metallica,
A Flock of Seagulls,
Groovy Waters,
Nico,
Marine Girls,
Laurel Aitken,
Sun City Girls,
Das Ding,
John Holt,
De La Soul & Jungle Brothers,
Scott Walker + Sunn O))),
Boogie Down Productions,
Barrington Levy,
Soft Cell,
Pole,
The Jesus and Mary Chain,
Marmalade,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.