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 Qatar and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Portland 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 marimba 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 Lakeside to the grime 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 Country Joe & The Fish. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Max Romeo,
Mo-Dettes,
Eric Copeland,
Ronan,
The United States of America,
Subhumans,
The Electric Prunes,
Crispian St. Peters,
Rakim,
Mark Hollis,
Bobby Byrd,
Pet Shop Boys,
Saccharine Trust,
Qualms,
Kurtis Blow,
Susan Cadogan,
Kevin Saunderson,
Gregory Isaacs,
Kerrie Biddell,
James White and The Blacks,
Ice-T,
The Modern Lovers,
Thinking Fellers Union Local 282,
Darondo,
Be Bop Deluxe,
Arcadia,
R.M.O.,
Lungfish,
Girls At Our Best!,
The Move,
Lee Hazlewood,
CMW,
Tomorrow,
Lightning Bolt,
Terry Callier,
Ultravox,
Stockholm Monsters,
Donny Hathaway,
the Bar-Kays,
Peter & Gordon,
Pole,
Roxette,
Underground Resistance,
Magma,
Godley & Creme,
In Retrospect,
Electric Light Orchestra,
Ten City,
Arab on Radar,
Stereo Dub,
Eurythmics,
Kool Moe Dee,
Icehouse,
H. Thieme,
Cheater Slicks,
Zero Boys,
The Birthday Party,
Rufus Thomas,
The Peanut Butter Conspiracy,
Unwound, Unwound, Unwound, Unwound.
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.