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 Dominica and from Manila.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Columbus and Copenhagen.
I'm losing my edge to the art-school Calgary 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 snare 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 Liliput 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 The Red Krayola. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth 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?
Angels of Light & Akron/Family,
Mars,
Howard Jones,
Thinking Fellers Union Local 282,
Lebanon Hanover,
Half Japanese,
Soul Sonic Force,
Camron Feat. Jay Z And Juelz,
Traffic Nightmare,
Soulsonic Force,
Spandau Ballet,
Richard Hell and the Voidoids,
Niagra,
Justin Hinds & The Dominoes,
Spoonie Gee,
Urselle,
Pete Rock & C.L. Smooth,
Aloha Tigers,
Oppenheimer Analysis,
Massinfluence,
The Detroit Cobras,
Hoover,
Kool Moe Dee,
Dave Gahan,
Sällskapet,
Ornette Coleman,
Connie Case,
the Association,
Anakelly,
Aaron Thompson,
Wighnomy Brothers & Robag Wruhme,
Wolf Eyes,
Essential Logic,
Saccharine Trust,
The Blackbyrds,
Lou Reed & John Cale,
The Trojans,
Patti Smith,
Idris Muhammad,
Supertramp,
Vaughan Mason & Crew,
Royal Trux,
Eddi Front,
Jeru the Damaja,
Lee Hazlewood,
Mark Hollis,
Rakim,
Lizzy Mercier Descloux,
Main Source,
James Chance & The Contortions,
These Immortal Souls,
Accadde A,
Pierre Henry,
The Wake,
Japan,
Kurtis Blow,
Mr. Review,
Lou Reed,
Absolute Body Control,
Ultramagnetic MC's,
Liliput,
Nirvana, Nirvana, Nirvana, Nirvana.
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.