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 Congo and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 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 cv313 to the punk kids.
I played it at the 40 Watt.
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 Al Stewart. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every The Invisible 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Shuggie Otis,
the Swans,
Black Pus,
The Dirtbombs,
Bush Tetras,
Nico,
Lou Reed & John Cale,
Tim Buckley,
Eric Dolphy,
Thee Headcoats,
Soulsonic Force,
Q65,
The Divine Comedy,
The Durutti Column,
The Happenings,
Barclay James Harvest,
Vladislav Delay,
Archie Shepp,
Minutemen,
Unrelated Segments,
E-Dancer,
The Last Poets,
Brothers Johnson,
Ludus,
Sun Ra Arkestra,
The Knickerbockers,
Skaos,
The Five Americans,
Jacques Brel,
Outsiders,
Joensuu 1685,
Technova,
Arcadia,
Lonnie Liston Smith,
Bronski Beat,
FM Einheit,
Essential Logic,
Pussy Galore,
Minny Pops,
Crime,
Animal Collective,
Faust,
Curtis Mayfield,
Television Personalities,
Faraquet,
Rekid,
Thinking Fellers Union Local 282,
Kango’s Stein Massive,
Moebius,
Metal Thangz,
Terror Squad Feat. Camron,
Tubeway Army,
Zapp,
Judy Mowatt,
Can,
Lou Reed,
Man Eating Sloth,
Little Man,
Mantronix,
Tom Boy,
The Chocolate Watch Band,
Lindisfarne,
Sly & The Family Stone,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.