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 Austria and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Taipei and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 snare sounds with much patience.
I was there when David Bowie 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 Eurythmics to the grime kids.
I played it at the 40 Watt.
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 Marcia Griffiths. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Dual Sessions 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
cv313,
Fear,
Peter & Gordon,
Tubeway Army,
Cameo,
Josef K,
The Kinks,
Kings Of Tomorrow,
Chris & Cosey,
Sound Behaviour,
Joey Negro,
Pere Ubu,
The Associates,
Howard Jones,
Ultra Naté,
Porter Ricks,
Pharaoh Sanders and the Fire Engines,
The Cure,
Main Source,
Gil Scott-Heron & Brian Jackson,
Black Sheep,
Pantytec,
Agent Orange,
the Soft Cell,
Chris Corsano,
The Saints,
Mo-Dettes,
Sly & The Family Stone,
Grandmaster Flash and the Furious Five,
Moby Grape,
Notorious BIG live in Amsterdam,
Angry Samoans,
Public Image Ltd.,
The Fire Engines,
Television,
Popol Vuh,
The Happenings,
The Alarm Clocks,
Bang on a Can All-Stars,
The Zeros,
Scion,
Crispian St. Peters,
Basic Channel,
Lightning Bolt,
Guru Guru,
Dark Day,
Thee Headcoats,
Maurizio,
The Walker Brothers,
MDC,
Johnny Clarke,
Lee Hazlewood,
The Royal Family And The Poor,
London Community Gospel Choir,
Ronnie Foster,
The Motions,
Loose Ends,
Angels of Light & Akron/Family,
Tears for Fears,
Heaven 17,
The Dead C,
Barrington Levy,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.