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 Maldives and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Paris and Toronto.
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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Roger Hodgson to the grunge kids.
I played it at the Roxy.
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 Fire Engines. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
The Monochrome Set,
It's A Beautiful Day,
Japan,
Fort Wilson Riot,
Anakelly,
Johnny Osbourne,
Nation of Ulysses,
Youth Brigade,
A Flock of Seagulls,
Babytalk,
Pulsallama,
Ash Ra Tempel,
Grandmaster Flash and the Furious Five,
Joy Division,
Au Pairs,
Sarah Menescal,
The Buckinghams,
EPMD,
Nas,
Duran Duran,
Soft Cell,
Delon & Dalcan,
Panda Bear,
Silicon Teens,
Ultramagnetic MC's,
Sun Ra,
Bill Wells,
Bootsy's Rubber Band,
Animal Collective,
Cal Tjader,
Pussy Galore,
Sällskapet,
John Lydon,
Ituana,
Tears for Fears,
Patti Smith,
Delta 5,
Quantec,
Fluxion,
The Flesh Eaters,
Pylon,
Ice-T,
Symarip,
Neil Young & Crazy Horse,
The Neon Judgement,
Jerry Gold Smith,
Adolescents,
Essential Logic,
The Cowsills,
Andrew Ashong & Theo Parrish,
Don Cherry,
The Victims,
Wings,
Sight & Sound,
James Chance & The Contortions,
The Walker Brothers,
Amazonics,
Flipper,
Carl Craig,
Marvin Gaye,
New York Dolls,
Liliput,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.