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 Albania and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lille and Tokyo.
I'm losing my edge to the art-school Columbus 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 guitar 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 L. Decosne to the electroclash 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 Public Enemy. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Henry Cow 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
The Toasters,
Yusef Lateef,
Wasted Youth,
Gong,
Crooked Eye,
The Slackers,
U.S. Maple,
The West Coast Pop Art Experimental Band,
Colin Newman,
Thee Headcoats,
In Retrospect,
Yazoo,
H. Thieme,
Amon Düül II,
Strawberry Alarm Clock,
Marvin Gaye,
Cluster,
the Germs,
Howard Jones,
The Sonics,
Tommy Roe,
World's Most,
Excepter,
Tomorrow,
Bobby Hutcherson,
Pulsallama,
Jesper Dahlback,
The Saints,
Symarip,
DeepChord presents Echospace,
48th St. Collective,
The Young Rascals,
Pharoah Sanders,
Eric Dolphy,
Alison Limerick,
Maleditus Sound,
Todd Rundgren,
Shoche,
The Fuzztones,
Public Enemy,
The Human League,
Sly & The Family Stone,
Warsaw,
Junior Murvin,
John Lydon,
Rotary Connection,
Kool G Rap & DJ Polo,
The Barracudas,
Minnie Riperton,
Glambeats Corp.,
Erykah Badu,
Justin Hinds & The Dominoes,
Underground Resistance,
Heaven 17,
Kas Product,
Metal Thangz,
Ultravox,
Juan Atkins,
Goldenarms,
Sound Behaviour,
The Litter,
Jacques Brel,
Outsiders, Outsiders, Outsiders, Outsiders.
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.