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 Barbados and from Shanghai.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Lou Reed 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 Junior Murvin to the dance kids.
I played it at the Troubador.
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 Eric B and Rakim. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Deutsch Amerikanische Freundschaft,
Malaria!,
Fifty Foot Hose,
Television,
Max Romeo,
The Divine Comedy,
Cal Tjader,
Deadbeat,
Aswad,
Super Lover Cee & Casanova Rud,
Nas,
Prince Buster,
Neil Young,
Banda Bassotti,
Pere Ubu,
Parry Music,
The Alarm Clocks,
Agent Orange,
Crime,
Lou Reed,
The Shadows of Knight,
Mandrill,
Agitation Free,
Bill Near,
Absolute Body Control,
the Soft Cell,
Sad Lovers and Giants,
The Dirtbombs,
Lower 48,
Crash Course in Science,
Aloha Tigers,
Bluetip,
Scrapy,
Lizzy Mercier Descloux,
Drexciya,
Pierre Henry,
Marmalade,
The Standells,
Bob Dylan,
Amon Düül,
Lou Christie,
The Index,
AZ,
Black Flag,
Sandy B,
Organ,
R.M.O.,
Magazine,
Girls At Our Best!,
L. Decosne,
Darondo,
Isaac Hayes,
Electric Light Orchestra,
David Bowie,
Second Layer,
David Axelrod,
The Trojans,
Skarface, Skarface, Skarface, Skarface.
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.