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 Cape Verde and from London.
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 1965 to 1979.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Lille 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 rhodes 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 Colin Newman to the funk kids.
I played it at Cafe Wha.
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 Robert Wyatt. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Sister Nancy 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Warsaw,
Pole,
Jacques Brel,
Traffic Nightmare,
Pete Rock & C.L. Smooth,
Beasts of Bourbon,
Davy DMX,
Soul Sonic Force,
Piero Umiliani,
Bobby Hutcherson,
Franke,
Andrew Ashong & Theo Parrish,
the Human League,
Massinfluence,
Spandau Ballet,
Amon Düül,
Half Japanese,
Duran Duran,
Bad Manners,
Brothers Johnson,
Delon & Dalcan,
The Victims,
The Last Poets,
Sexual Harrassment,
The Offenders,
Pharaoh Sanders and the Fire Engines,
Fifty Foot Hose,
Kool Moe Dee,
Gil Scott Heron,
Michelle Simonal,
Archie Shepp,
Shuggie Otis,
Siglo XX,
Kaleidoscope,
Minnie Riperton,
Pantytec,
The American Breed,
Magazine,
The Pop Group,
AZ,
Letta Mbulu,
Darondo,
Mad Mike,
Roxy Music,
E-Dancer,
Ultra Naté,
Ice-T,
James White and The Blacks,
Jerry Gold Smith,
Lungfish,
Joy Division,
Pagans,
Deadbeat,
Quantec,
Faust,
Fugazi,
Hasil Adkins,
Jerry's Kids,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.