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 Kyrgyzstan and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
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 guitar sounds with much patience.
I was there when David Bowie 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 Joe Smooth to the rap 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 Marmalade. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Max Romeo,
The United States of America,
Brothers Johnson,
Wolf Eyes,
Blake Baxter,
ABBA,
This Heat,
Magazine,
The Pop Group,
The Young Rascals,
Altered Images,
Agent Orange,
The Raincoats,
John Holt,
Sugar Minott,
Scion,
The West Coast Pop Art Experimental Band,
Sam Rivers,
Aaron Thompson,
Ultra Naté,
Bobbi Humphrey,
Sun Ra Arkestra,
Minny Pops,
Thinking Fellers Union Local 282,
Fear,
Crispy Ambulance,
Minnie Riperton,
Kaleidoscope,
Ultimate Spinach,
Slave,
The Kinks,
Barclay James Harvest,
Guru Guru,
Manfred Mann's Earth Band,
Wally Richardson,
Scott Walker + Sunn O))),
Aswad,
Bill Near,
The Gun Club,
The American Breed,
Deutsch Amerikanische Freundschaft,
Drexciya,
Public Enemy,
Sly & The Family Stone,
Freddie Wadling,
Marshall Jefferson,
Young Marble Giants,
The Gap Band,
Sound Behaviour,
the Soft Cell,
Cluster,
Niagra,
Zapp,
Jandek,
The Birthday Party,
Judy Mowatt,
ABC,
The Mighty Diamonds,
Vladislav Delay,
The Peanut Butter Conspiracy,
Nick Fraelich,
Ludus, Ludus, Ludus, Ludus.
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.