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 Togo and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 harpsichord 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 The Blackbyrds to the dance kids.
I played it at the Roxy.
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 Girls At Our Best!. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Crime,
K-Klass,
Colin Newman,
Lee Hazlewood,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Five Americans,
Barbara Tucker,
Bronski Beat,
Half Japanese,
Bob Dylan,
Carl Craig,
The Invisible,
Fat Boys,
Patti Smith,
Interpol,
Ituana,
Bush Tetras,
Dark Day,
Funky Four + One,
The Motions,
Ohio Players,
Babytalk,
June Days,
Richard Hell and the Voidoids,
The Stooges,
Idris Muhammad,
The Last Poets,
Young Marble Giants,
Swans,
The Human League,
Hashim,
Kenny Larkin,
Archie Shepp,
The Techniques,
Ajijia Myrayebe,
Sad Lovers and Giants,
Panda Bear,
Icehouse,
Sticky Fingaz feat. Raekwon,
Delta 5,
The Litter,
Spoonie Gee,
Ash Ra Tempel,
Manfred Mann's Earth Band,
John Foxx,
Gastr Del Sol,
H. Thieme,
Bill Near,
Jacques Brel,
The Saints,
Kayak,
Parry Music,
Agent Orange,
Nik Kershaw,
Juan Atkins,
The Dirtbombs,
Kings Of Tomorrow,
Bobby Sherman,
the Human League,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.