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 Malawi and from Tokyo.
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 Bologna and London.
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 Minny Pops to the crunk kids.
I played it at the Spitz.
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 The Five Americans. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Roxy Music,
Flipper,
The Detroit Cobras,
K-Klass,
Teenage Jesus and the Jerks,
Essential Logic,
Warsaw,
Jerry Gold Smith,
The Chocolate Watch Band,
Faust,
Neil Young,
Hashim,
Gian Franco Pienzio,
Rahsaan Roland Kirk,
Monks,
the Bar-Kays,
Bang On A Can,
The American Breed,
Icehouse,
Ornette Coleman,
Quando Quango,
Blancmange,
Matthew Bourne,
Amon Düül,
Tomorrow,
Thee Headcoats,
Manfred Mann's Earth Band,
Amazonics,
Louis and Bebe Barron,
Rosa Yemen,
the Slits,
Gil Scott Heron,
The Neon Judgement,
Youth Brigade,
Lebanon Hanover,
The Music Machine,
Crooked Eye,
The Residents,
Guru Guru,
Ponytail,
Arcadia,
Dead Boys,
Aural Exciters,
Red Lorry Yellow Lorry,
The Mighty Diamonds,
Liliput,
Funky Four + One,
Eli Mardock,
Joe Finger,
Alphaville,
F. McDonald,
Buzzcocks,
Brass Construction,
The Raincoats,
Flamin' Groovies,
Grey Daturas,
Cymande,
Deakin,
Crispy Ambulance,
Ohio Players,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.