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 Andorra and from Stockholm.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Flesh Eaters to the punk kids.
I played it at the Spitz.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Masters at Work,
Fat Boys,
Bang On A Can,
Roy Ayers,
Mission of Burma,
Thompson Twins,
Röyhkä ja Rättö ja Lehtisalo,
Dorothy Ashby,
Sandy B,
The Last Poets,
Maleditus Sound,
Schoolly D,
Ken Boothe,
Ash Ra Tempel,
Smog,
Black Flag,
Buzzcocks,
The Move,
R.M.O.,
Todd Terry,
Ossler,
Crash Course in Science,
The Gun Club,
Jeru the Damaja,
Surgeon,
Newcleus,
Mad Mike,
Tubeway Army,
Parry Music,
JFA,
Red Lorry Yellow Lorry,
Youth Brigade,
Steve Hackett,
The Vogues,
AZ,
The Remains,
Bizarre Inc.,
Index,
Piero Umiliani,
Radiohead,
Cal Tjader,
The Misunderstood,
The Detroit Cobras,
DJ Style,
Harry Pussy,
The Flesh Eaters,
Shoche,
Kayak,
Dead Boys,
Don Cherry,
The Residents,
The Dave Clark Five,
Brass Construction,
Delta 5,
Al Stewart,
Soulsonic Force,
Moss Icon,
The Blackbyrds,
Pulsallama,
Joe Smooth,
Peter and Kerry,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.