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 Samoa and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1973.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Arab on Radar to the techno kids.
I played it at the Crocodile.
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 Easy Going. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
The Fire Engines,
The Velvet Underground,
Lou Christie,
Camron Feat. Memphis Bleek And Beenie Seigel,
AZ,
Negative Approach,
Bronski Beat,
Connie Case,
The Five Americans,
Mad Mike,
T.S.O.L.,
The Angels of Light,
The Fall,
The Neon Judgement,
the Soft Cell,
The Beau Brummels,
Parry Music,
Scrapy,
Electric Light Orchestra,
Arthur Verocai,
Juan Atkins,
Jandek,
John Holt,
Drive Like Jehu,
Ossler,
The Moleskins,
Toni Rubio,
Qualms,
The Residents,
The Zeros,
Fat Boys,
Big Daddy Kane,
Rakim,
Sällskapet,
Liliput,
Soft Cell,
Soulsonic Force,
The Invisible,
Fatback Band,
Jacob Miller,
Public Enemy,
Make Up,
The Smoke,
Jesper Dahlbäck,
Procol Harum,
Minor Threat,
Tres Demented,
Rhythm & Sound,
Deakin,
Dual Sessions,
Man Parrish,
Fluxion,
Japan,
the Normal,
Nico,
The Grass Roots,
Flipper,
Technova,
Rapeman,
Bob Dylan,
The Leaves, The Leaves, The Leaves, The Leaves.
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.