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 Tunisia and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Shanghai 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 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 Girls At Our Best! to the punk 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 Rotary Connection. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Unrelated Segments 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Doors,
Bob Dylan,
The Skatalites,
Henry Cow,
Nik Kershaw,
John Holt,
Liliput,
Massinfluence,
Liaisons Dangereuses,
Bad Manners,
Deepchord,
Desert Stars,
The Sound,
Roy Ayers,
The Modern Lovers,
The Gap Band,
Maurizio,
Gang Green,
Siglo XX,
Ronan,
Scott Walker + Sunn O))),
The J.B.'s,
Brass Construction,
Stereo Dub,
Accadde A,
John Cale,
The Smoke,
Skarface,
David Bowie,
Barrington Levy,
The Slackers,
Boogie Down Productions,
The Martian,
The Toasters,
B.T. Express,
Junior Murvin,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
Rapeman,
The Grass Roots,
Peter & Gordon,
H. Thieme,
The Walker Brothers,
Susan Cadogan,
Cameo,
Quantec,
Janne Schatter,
The Tremeloes,
Ludus,
Theoretical Girls,
Gong,
Alison Limerick,
Terry Callier,
Lungfish,
Funkadelic,
Delon & Dalcan,
Anthony Braxton,
The Fall,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.