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 Madagascar and from Tokyo.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Portland 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 rhodes 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 Faraquet to the punk kids.
I played it at the Hacienda.
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 Todd Rundgren. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Pere Ubu,
Wire,
Lalo Schifrin,
Magma,
Second Layer,
Ohio Players,
Jeru the Damaja,
KRS-One,
Charles Mingus,
Monks,
Can,
The Mighty Diamonds,
Adolescents,
Janne Schatter,
James Chance & The Contortions,
Severed Heads,
The Saints,
The Move,
Electric Light Orchestra,
Camron Feat. Jay Z And Juelz,
World's Most,
MDC,
Funky Four + One,
Thee Headcoats,
Skriet,
The Jesus and Mary Chain,
The Evens,
Pierre Henry,
Lou Reed,
Dorothy Ashby,
Gichy Dan,
Ultravox,
The J.B.'s,
Strawberry Alarm Clock,
Bill Wells,
Brass Construction,
Oblivians,
The Sonics,
Michelle Simonal,
Sun City Girls,
Mark Hollis,
F. McDonald,
Teenage Jesus and the Jerks,
Eve St. Jones,
Ten City,
Marshall Jefferson,
Glambeats Corp.,
The Cure,
Groovy Waters,
kango's stein massive,
The Young Rascals,
the Swans,
The Buckinghams,
Barclay James Harvest,
Throbbing Gristle,
The Beau Brummels,
Hashim,
Kauko Röyhkä ja Narttu,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.