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 St Lucia and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Rhythm & Sound to the disco 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 Brick. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Joe Smooth,
Prince Buster,
Gian Franco Pienzio,
Lebanon Hanover,
The Shadows of Knight,
Jimmy McGriff,
Sonny Sharrock,
In Retrospect,
Isaac Hayes,
Dual Sessions,
The Zeros,
Iggy Pop,
Sexual Harrassment,
John Coltrane,
The Cosmic Jokers,
Young Marble Giants,
Crash Course in Science,
Bauhaus,
The Dave Clark Five,
K-Klass,
Sly & The Family Stone,
Grandmaster Flash and the Furious Five,
Fear,
Hoover,
Nik Kershaw,
Eyeless In Gaza,
Mars,
Cabaret Voltaire,
Crooked Eye,
Barbara Tucker,
The Barracudas,
The Fall,
Alison Limerick,
Gabor Szabo,
Pulsallama,
Royal Trux,
John Cale,
Heavy D & The Boyz,
Angels of Light & Akron/Family,
Electric Prunes,
The Monochrome Set,
Gil Scott-Heron & Brian Jackson,
Rod Modell,
Stetsasonic,
Scrapy,
The Standells,
Cecil Taylor,
The Tremeloes,
the Normal,
Q65,
Pete Rock & C.L. Smooth,
Ken Boothe,
Black Sheep,
Tres Demented,
Marshall Jefferson,
Larry & the Blue Notes,
Echo & the Bunnymen,
Yellowson,
Red Lorry Yellow Lorry,
Rufus Thomas,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.