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 Grenada and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 theremin sounds with much patience.
I was there when David Bowie 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 Marc Almond to the grunge 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 Lebanon Hanover. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Joey Negro 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
A Flock of Seagulls,
R.M.O.,
the Fania All-Stars,
Kerrie Biddell,
Bill Wells,
Neu!,
Prince Buster,
Alison Limerick,
Marine Girls,
The Wake,
The Skatalites,
The Monks,
A Certain Ratio,
The Neon Judgement,
The Invisible,
Joe Smooth,
The Mighty Diamonds,
Interpol,
John Foxx,
Kayak,
The Grass Roots,
Siouxsie and the Banshees,
Big Daddy Kane,
Gichy Dan,
Donny Hathaway,
Harmonia,
Heavy D & The Boyz,
The Moleskins,
Chris & Cosey,
Zapp,
Aural Exciters,
The Gladiators,
The Cure,
Circle Jerks,
Kool Moe Dee,
Bootsy's Rubber Band,
Faraquet,
Robert Hood,
Rhythim Is Rhythim,
10cc,
Pharoah Sanders,
Fad Gadget,
Lebanon Hanover,
Marvin Gaye,
La Düsseldorf,
Captain Beefheart & His Magic Band,
Lyres,
Ultravox,
Khruangbin,
Jimmy McGriff,
The Doors,
Electric Prunes,
Pussy Galore,
Slave,
Arab on Radar,
Gil Scott-Heron and Jamie xx,
Deepchord,
Babytalk,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.