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 Papua New Guinea and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Sugar Minott to the rock kids.
I played it at CBGB's.
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 Althea and Donna. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Scion,
Faraquet,
The Mighty Diamonds,
De La Soul & Jungle Brothers,
John Coltrane,
The Star Department,
The Durutti Column,
Sam Rivers,
Fatback Band,
Max Romeo,
Aaron Thompson,
Kango’s Stein Massive,
The New Christs,
Davy DMX,
Ten City,
T.S.O.L.,
Steve Hackett,
the Slits,
The Divine Comedy,
Tubeway Army,
The Searchers,
Soul Sonic Force,
Alphaville,
Surgeon,
Laurel Aitken,
Robert Görl,
Little Man,
Electric Prunes,
Con Funk Shun,
The Stooges,
Camron Feat. Memphis Bleek And Beenie Seigel,
Faust,
Darondo,
Kerrie Biddell,
Susan Cadogan,
Marshall Jefferson,
The J.B.'s,
Cabaret Voltaire,
Derrick Morgan,
Thinking Fellers Union Local 282,
Shoche,
Sugar Minott,
Bootsy's Rubber Band,
Black Moon,
The Remains,
La Düsseldorf,
Blake Baxter,
Sun City Girls,
The Victims,
Alice Coltrane,
Scan 7,
Carl Craig,
DeepChord presents Echospace,
The Electric Prunes,
Model 500,
Charles Mingus,
Nick Cave & The Bad Seeds,
Quantec,
Lonnie Liston Smith,
Tres Demented,
Joe Smooth,
Stockholm Monsters,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.