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 Angola and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Edmonton 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 synthesizer 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 Fortunes to the rock kids.
I played it at the Astoria.
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 Kings Of Tomorrow. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal disco 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 a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
The Modern Lovers,
Nas,
Brass Construction,
Bill Wells,
Delon & Dalcan,
Smog,
Patti Smith,
Newcleus,
Al Stewart,
Steve Hackett,
Lalann,
Lee Hazlewood,
UT,
Oneida,
ABC,
Quadrant,
Ornette Coleman,
DeepChord presents Echospace,
Ice-T,
E-Dancer,
The Wake,
Joey Negro,
Theoretical Girls,
Radio Birdman,
Half Japanese,
Wire,
Boredoms,
Pet Shop Boys,
Rhythm & Sound,
Scrapy,
Gichy Dan,
Alton Ellis,
June Days,
Soft Machine,
Hot Snakes,
Silicon Teens,
Alison Limerick,
Dorothy Ashby,
The Residents,
Urselle,
Electric Prunes,
Juan Atkins,
One Last Wish,
A Flock of Seagulls,
Nik Kershaw,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
Suburban Knight,
The Five Americans,
Jesper Dahlback,
The Blues Magoos,
Kurtis Blow,
The Grass Roots,
Alice Coltrane,
The Gap Band,
Thompson Twins,
Easy Going,
Major Organ And The Adding Machine,
Wolf Eyes,
Thee Headcoats,
The Fall,
London Community Gospel Choir,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.