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 Italy and from Taipei.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Vaughan Mason & Crew to the electroclash kids.
I played it at the Hacienda.
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 John Cale. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Infiniti,
This Heat,
Kool Moe Dee,
Soft Cell,
Richard Hell and the Voidoids,
Moby Grape,
The Cramps,
Alton Ellis,
The Monochrome Set,
The Leaves,
Nas,
Tears for Fears,
Patti Smith,
Surgeon,
Fugazi,
Rahsaan Roland Kirk,
L. Decosne,
Nils Olav,
Notorious BIG live in Amsterdam,
Flipper,
Avey Tare's Slasher Flicks,
H. Thieme,
The Searchers,
The Slackers,
The Doobie Brothers,
Radio Birdman,
DJ Sneak,
The Dead C,
Siouxsie and the Banshees,
Althea and Donna,
June Days,
Mark Hollis,
Fluxion,
Roy Ayers Ubiquity,
Yaz,
Blossom Toes,
Marc Almond,
Kauko Röyhkä ja Narttu,
David McCallum,
The Modern Lovers,
John Foxx,
Delta 5,
The West Coast Pop Art Experimental Band,
The Names,
The Flesh Eaters,
Can,
Severed Heads,
B.T. Express,
Bizarre Inc.,
Andrew Ashong & Theo Parrish,
Shuggie Otis,
Sam Rivers,
Visionaries,LMNO, T- Love & Iriscience,
Anakelly,
The Mighty Diamonds,
Agitation Free,
The Standells,
Brass Construction,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.