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 Latvia and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Barrington Levy to the funk 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 Make Up. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Moss Icon 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 '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Gang Green,
Scrapy,
Spandau Ballet,
the Sonics,
Sun City Girls,
June Days,
Henry Cow,
Glenn Branca,
Cabaret Voltaire,
Ituana,
Grandmaster Flash and the Furious Five,
Dawn Penn,
The Selecter,
The Raincoats,
Max Romeo,
Chris & Cosey,
Camron Feat. Memphis Bleek And Beenie Seigel,
Liaisons Dangereuses,
The Black Dice,
Urselle,
Yellowson,
Boredoms,
Wolf Eyes,
Das Ding,
Accadde A,
Icehouse,
The Grass Roots,
Soul II Soul,
The Smoke,
10cc,
Jerry Gold Smith,
The Dead C,
The Martian,
Donald Byrd,
Nick Cave & The Bad Seeds,
Harmonia,
Letta Mbulu,
JFA,
The Fire Engines,
Unwound,
Sixth Finger,
Angels of Light & Akron/Family,
Robert Görl,
Los Fastidios,
Essential Logic,
The Associates,
The Birthday Party,
Oneida,
Carl Craig,
Kerri Chandler,
Absolute Body Control,
Piero Umiliani,
The Wake,
B.T. Express,
Talk Talk,
One Last Wish,
Mad Mike,
Country Joe & The Fish,
Dark Day,
Country Teasers,
Faraquet,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.