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 Eritrea and from Milan.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when Lou Reed 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 The United States of America to the dance 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 Aaron Thompson. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
the Swans,
Sun Ra Arkestra,
Big Daddy Kane,
Lou Reed & Metallica,
Rhythm & Sound,
Freddie Wadling,
Pierre Henry,
Boredoms,
Zero Boys,
the Fania All-Stars,
The Leaves,
Rakim,
Warren Ellis,
Faraquet,
Barrington Levy,
Buzzcocks,
Public Enemy,
Howard Jones,
Agent Orange,
A Flock of Seagulls,
Scrapy,
Roger Hodgson,
The Music Machine,
Surgeon,
Sly & The Family Stone,
Avey Tare's Slasher Flicks,
Thee Headcoats,
Kaleidoscope,
Gil Scott Heron,
Yellowson,
Josef K,
Sun Ra,
Severed Heads,
Fluxion,
Excepter,
FM Einheit,
Ossler,
Crooked Eye,
Richard Hell and the Voidoids,
The Mummies,
Wally Richardson,
Young Marble Giants,
Tubeway Army,
Niagra,
Major Organ And The Adding Machine,
Gichy Dan,
Hasil Adkins,
Curtis Mayfield,
The Smoke,
Vainqueur,
Lalo Schifrin,
The Residents,
Bobby Hutcherson,
Kool G Rap & DJ Polo,
The Modern Lovers,
China Crisis,
E-Dancer,
Dave Gahan,
The Fall,
Marine Girls,
Talk Talk,
The Sound, The Sound, The Sound, The Sound.
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.