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 Chad and from Sao Paulo.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Peter and Kerry to the grunge kids.
I played it at the 40 Watt.
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 Deepchord. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra 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?
Oppenheimer Analysis,
Slick Rick,
Orchestral Manoeuvres in the Dark,
World's Most,
Matthew Halsall,
The Saints,
Qualms,
Leonard Cohen,
Junior Murvin,
The Motions,
The Toasters,
Big Daddy Kane,
Don Cherry,
Quantec,
Tom Boy,
Spoonie Gee,
The Electric Prunes,
In Retrospect,
Reagan Youth,
Icehouse,
Sarah Menescal,
Jesper Dahlbäck,
Suicide,
OOIOO,
Banda Bassotti,
Avey Tare & Kría Brekkan,
The Knickerbockers,
Con Funk Shun,
Sonny Sharrock,
Rosa Yemen,
Robert Görl,
Sexual Harrassment,
James Chance & The Contortions,
Neil Young & Crazy Horse,
The American Breed,
Pantytec,
Quadrant,
Glenn Branca,
Make Up,
Average White Band,
Kauko Röyhkä ja Narttu,
Can,
Mandrill,
Mars,
Interpol,
Blake Baxter,
Surgeon,
Ken Boothe,
Freddie Wadling,
Ronnie Foster,
Animal Collective,
The Music Machine,
The Cramps,
Flipper,
Susan Cadogan,
CMW,
The Wake,
Frankie Knuckles,
The Men They Couldn't Hang,
Joey Negro,
the Association,
The Kinks,
Piero Umiliani,
Steve Hackett,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.