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 the UAE and from Portland.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Woodstock 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 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 Dark Day 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Heavy D & The Boyz,
Yusef Lateef,
Bootsy's Rubber Band,
The Sisters of Mercy,
Dual Sessions,
The Divine Comedy,
Mantronix,
Rod Modell,
The Men They Couldn't Hang,
Sonic Youth,
Harpers Bizarre,
Red Lorry Yellow Lorry,
the Slits,
Lou Reed,
ABC,
The Barracudas,
Gil Scott Heron,
Crash Course in Science,
The Tremeloes,
Jawbox,
The Mighty Diamonds,
Dave Gahan,
Rakim,
Johnny Osbourne,
The Fire Engines,
Fear,
Charles Mingus,
Ohio Players,
Byron Stingily,
Model 500,
Delta 5,
Bobby Byrd,
Angry Samoans,
JFA,
H. Thieme,
K-Klass,
Gang Gang Dance,
Scott Walker,
Young Marble Giants,
Liliput,
Pere Ubu,
Faraquet,
Derrick May,
Kango’s Stein Massive,
Crispian St. Peters,
Nik Kershaw,
Donald Byrd,
Sonny Sharrock,
Smog,
The Mojo Men,
The Walker Brothers,
Mad Mike,
Silicon Teens,
10cc,
Black Flag,
Black Sheep,
Leonard Cohen,
Laurel Aitken,
Cameo,
Sugar Minott,
The Misunderstood,
The Smiths, The Smiths, The Smiths, The Smiths.
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.