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 Lebanon and from Mexico City.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Halifax and Winnipeg.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Marc Almond to the funk 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 Ice-T. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Animal Collective,
Bobby Sherman,
Ornette Coleman,
PIL,
Electric Light Orchestra,
The Names,
Theoretical Girls,
The Music Machine,
R.M.O.,
The Fuzztones,
L. Decosne,
Black Sheep,
The Cramps,
Visionaries,LMNO, T- Love & Iriscience,
Gian Franco Pienzio,
Rahsaan Roland Kirk,
Shoche,
Pete Rock & C.L. Smooth,
Sonny Sharrock,
Babytalk,
Lonnie Liston Smith,
Sight & Sound,
Red Lorry Yellow Lorry,
Make Up,
Susan Cadogan,
The Durutti Column,
Quadrant,
Dawn Penn,
Michelle Simonal,
the Soft Cell,
Glenn Branca,
Smog,
Sun City Girls,
The Sound,
Eyeless In Gaza,
London Community Gospel Choir,
Harmonia,
the Slits,
Bob Dylan,
Sarah Menescal,
The Detroit Cobras,
Monolake,
Echospace,
Richard Hell and the Voidoids,
Rakim,
Rekid,
Audionom,
Deutsch Amerikanische Freundschaft,
Groovy Waters,
Röyhkä ja Rättö ja Lehtisalo,
FM Einheit,
Sound Behaviour,
DJ Style,
Sugar Minott,
Japan,
Chrome,
The Doors,
Can,
The Human League,
Nick Cave & The Bad Seeds,
K-Klass,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.