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 Lagos.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Altered Images to the jazz 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 Jimmy McGriff. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Sex Pistols 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Gerry Rafferty,
Todd Terry,
Judy Mowatt,
Nico,
R.M.O.,
Talk Talk,
The Moleskins,
The Human League,
Bronski Beat,
A Certain Ratio,
The Jesus and Mary Chain,
Deutsch Amerikanische Freundschaft,
Lower 48,
Letta Mbulu,
Al Stewart,
E-Dancer,
cv313,
Popol Vuh,
Suburban Knight,
The Leaves,
Eddi Front,
Cameo,
Ice-T,
Mad Mike,
Camberwell Now,
The United States of America,
Lalo Schifrin,
Severed Heads,
Audionom,
Piero Umiliani,
Mars,
The Count Five,
Robert Hood,
Bobby Byrd,
Youth Brigade,
Roger Hodgson,
Avey Tare's Slasher Flicks,
Accadde A,
Cabaret Voltaire,
Smog,
Japan,
Susan Cadogan,
Babytalk,
Bobby Womack,
Marc Romboy vs. Booka Shade,
Pet Shop Boys,
Fifty Foot Hose,
8 Eyed Spy,
Khruangbin,
Lou Reed & John Cale,
Rod Modell,
Lonnie Liston Smith,
Easy Going,
Dark Day,
De La Soul & Jungle Brothers,
The Gun Club,
Nick Fraelich,
Negative Approach,
Sonic Youth,
The Sonics,
Traffic Nightmare,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.