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 Georgia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Calgary 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 linndrum 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 The Beau Brummels to the electroclash kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Half Japanese,
Orchestral Manoeuvres in the Dark,
Deutsch Amerikanische Freundschaft,
Masters at Work,
Popol Vuh,
Notorious BIG live in Amsterdam,
Teenage Jesus and the Jerks,
Thee Headcoats,
Pussy Galore,
Grandmaster Flash and the Furious Five,
Silicon Teens,
Desert Stars,
The Move,
Rotary Connection,
Lucky Dragons,
Siouxsie and the Banshees,
The Offenders,
Sight & Sound,
Ajijia Myrayebe,
Brand Nubian,
Q and Not U,
Jacob Miller,
Derrick Morgan,
Eve St. Jones,
Mantronix,
Jimmy McGriff,
The Cowsills,
Goldenarms,
The Fall,
Outsiders,
Traffic Nightmare,
Super Lover Cee & Casanova Rud,
The Doobie Brothers,
Bang On A Can,
The Evens,
John Holt,
Average White Band,
Godley & Creme,
The Fuzztones,
Kaleidoscope,
Deadbeat,
Louis and Bebe Barron,
Johnny Osbourne,
The Raincoats,
Babytalk,
Tomorrow,
Bobbi Humphrey,
Agent Orange,
Jeru the Damaja,
Deepchord,
Gang Green,
Arthur Verocai,
The Kinks,
The Neon Judgement,
Skaos,
Bizarre Inc.,
The Happenings,
Gabor Szabo,
The Busters,
Pylon, Pylon, Pylon, Pylon.
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.