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 Cape Verde and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Glasgow 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 organ sounds with much patience.
I was there when Michael McDonald 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 Joensuu 1685 to the punk 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 Soft Cell. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Louis and Bebe Barron,
Shoche,
Kango’s Stein Massive,
Hoover,
Jerry Gold Smith,
Ohio Players,
The J.B.'s,
The Music Machine,
The Mojo Men,
Moss Icon,
Larry & the Blue Notes,
Gil Scott-Heron and Jamie xx,
The Smiths,
Michelle Simonal,
Simply Red,
Dave Gahan,
Kas Product,
The Gladiators,
David Axelrod,
The Neon Judgement,
The Names,
Iggy Pop,
Fear,
Barbara Tucker,
Max Romeo,
Khruangbin,
Selector Dub Narcotic,
Newcleus,
Circle Jerks,
Captain Beefheart & His Magic Band,
The Cure,
The Fugs,
Scrapy,
8 Eyed Spy,
Reagan Youth,
James Chance & The Contortions,
Curtis Mayfield,
Lungfish,
Kool G Rap & DJ Polo,
Visionaries,LMNO, T- Love & Iriscience,
Quando Quango,
Drexciya,
Urselle,
Stiv Bators,
New York Dolls,
The Zeros,
Soul II Soul,
Barclay James Harvest,
Livin' Joy,
Warren Ellis,
A Certain Ratio,
The Toasters,
Roxy Music,
Royal Trux,
Animal Collective,
Dual Sessions,
The Smoke,
The Chocolate Watch Band,
Porter Ricks,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.