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 the UAE and from Halifax.
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 1965 to 1970.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Spokane 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 theremin 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 Wire to the disco kids.
I played it at the Troubador.
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 Soft Machine. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
DNA,
PIL,
Pet Shop Boys,
Duran Duran,
The Fortunes,
The Searchers,
Ice-T,
Juan Atkins,
Fela Kuti,
Guru Guru,
Rites of Spring,
Visage,
Red Lorry Yellow Lorry,
Isaac Hayes,
Bobby Sherman,
Audionom,
The Zeros,
Cabaret Voltaire,
Cymande,
Junior Murvin,
Fugazi,
The West Coast Pop Art Experimental Band,
Prince Buster,
Dark Day,
Ralphi Rosario,
Sight & Sound,
Lalo Schifrin,
Groovy Waters,
The Jesus and Mary Chain,
The Invisible,
Crispy Ambulance,
Soft Machine,
kango's stein massive,
Fatback Band,
The Divine Comedy,
Leonard Cohen,
The Techniques,
Barbara Tucker,
Stockholm Monsters,
Ken Boothe,
the Fania All-Stars,
Theoretical Girls,
LL Cool J,
Hashim,
Albert Ayler,
Marine Girls,
a-ha,
Bobbi Humphrey,
Harmonia,
Donald Byrd,
The Misunderstood,
Technova,
Slick Rick,
Talk Talk,
Deakin,
Das Ding,
James White and The Blacks,
Minor Threat,
Stetsasonic,
Anakelly,
the Association,
The Fall,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.