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 South Sudan and from Woodstock.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
I'm losing my edge to the art-school Spokane 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 Captain Beefheart 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 London Community Gospel Choir 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 Colin Newman. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Q and Not U 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
JFA,
Terrestrial Tones,
Japan,
Tubeway Army,
The Cowsills,
MC5,
Zapp,
James Chance & The Contortions,
Lindisfarne,
Boogie Down Productions,
Matthew Bourne,
Faraquet,
Unwound,
Gil Scott Heron,
Average White Band,
K-Klass,
Magma,
The Trojans,
Juan Atkins,
Johnny Osbourne,
The Vogues,
Fatback Band,
Audionom,
Electric Light Orchestra,
The Monks,
Agent Orange,
Dead Boys,
Pete Rock & C.L. Smooth,
The Busters,
Mo-Dettes,
Sound Behaviour,
The Blues Magoos,
The Techniques,
Scan 7,
Bluetip,
Arab on Radar,
The Fuzztones,
The Five Americans,
Niagra,
Kango’s Stein Massive,
Animal Collective,
Fad Gadget,
Ajijia Myrayebe,
Reuben Wilson,
Rakim,
Quantec,
Parry Music,
Thinking Fellers Union Local 282,
Scrapy,
Mad Mike,
T. Rex,
The Cure,
The Gap Band,
Outsiders,
Spandau Ballet,
Cybotron,
Mantronix,
Monks,
Lakeside,
Fear,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.