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 Nigeria 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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school New York 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 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 Art Ensemble Of Chicago to the dance 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 Eurythmics. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Marc Almond 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 '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
David Axelrod,
The Skatalites,
Funkadelic,
Bang On A Can,
Marshall Jefferson,
Ronan,
Arab on Radar,
Amon Düül II,
Flipper,
the Sonics,
Eyeless In Gaza,
The Jesus and Mary Chain,
Andrew Hill,
Pantytec,
The Count Five,
Talk Talk,
Drexciya,
Skaos,
MDC,
Soft Cell,
10cc,
Marmalade,
Don Cherry,
Zapp,
Schoolly D,
AZ,
Rahsaan Roland Kirk,
Crispian St. Peters,
Swell Maps,
Johnny Osbourne,
Camberwell Now,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mo-Dettes,
K-Klass,
Crooked Eye,
Clear Light,
Lou Christie,
48th St. Collective,
John Lydon,
Joey Negro,
Scrapy,
Severed Heads,
Technova,
Sly & The Family Stone,
Darondo,
Fear,
Heavy D & The Boyz,
The Divine Comedy,
The Music Machine,
Gil Scott Heron,
Jacob Miller,
Sun Ra Arkestra,
Liliput,
Desert Stars,
Black Sheep,
JFA,
Agitation Free,
Stereo Dub,
Accadde A,
Isaac Hayes,
L. Decosne,
the Normal,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.