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 Burkina and from Jakarta.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lyon and Lyon.
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 snare 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 Oblivians to the grime kids.
I played it at Trash.
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 AZ. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Underground Resistance 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Eden Ahbez,
Sly & The Family Stone,
Tim Buckley,
Bizarre Inc.,
Big Daddy Kane,
the Soft Cell,
Donny Hathaway,
OOIOO,
Delta 5,
Howard Jones,
Symarip,
K-Klass,
Oppenheimer Analysis,
Masters at Work,
The Fuzztones,
The Last Poets,
The Music Machine,
U.S. Maple,
Slave,
Mad Mike,
Spandau Ballet,
Can,
Thinking Fellers Union Local 282,
Barbara Tucker,
Pagans,
Fad Gadget,
The Modern Lovers,
Massinfluence,
Moebius,
Art Ensemble Of Chicago,
Khruangbin,
Bad Manners,
The Fortunes,
Ultra Naté,
The Saints,
Man Parrish,
Faust,
Brand Nubian,
Desert Stars,
Young Marble Giants,
Dorothy Ashby,
Malaria!,
Bootsy's Rubber Band,
Nico,
La Düsseldorf,
Sun City Girls,
Sparks,
The Doobie Brothers,
Todd Rundgren,
Derrick Morgan,
Jacques Brel,
Warsaw,
The Move,
Suicide,
Babytalk,
Dave Gahan,
Vaughan Mason & Crew,
Ronnie Foster,
Aural Exciters,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.