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 Tanzania and from Manila.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Beijing 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Bad Manners to the electroclash 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 Rahsaan Roland Kirk. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Country Joe & The Fish,
Little Man,
The Zeros,
Japan,
Crispian St. Peters,
Negative Approach,
Index,
Sun City Girls,
Boz Scaggs,
Minnie Riperton,
Dennis Brown,
the Slits,
Stiv Bators,
Pulsallama,
Jeru the Damaja,
Pierre Henry,
Das Ding,
Saccharine Trust,
Derrick May,
Motorama,
Make Up,
Hoover,
Gary Puckett & The Union Gap,
Marc Romboy vs. Booka Shade,
Porter Ricks,
Bronski Beat,
Fugazi,
Matthew Halsall,
Angry Samoans,
OOIOO,
Maurizio,
Ken Boothe,
Guru Guru,
Pete Rock & C.L. Smooth,
The Durutti Column,
Tears for Fears,
Black Bananas,
Nation of Ulysses,
Au Pairs,
David Axelrod,
Josef K,
Minutemen,
The Smoke,
Simply Red,
The American Breed,
The Remains,
Patti Smith,
X-101,
Half Japanese,
Bootsy's Rubber Band,
The Walker Brothers,
Young Marble Giants,
Lou Reed & John Cale,
Cybotron,
Jimmy McGriff,
Robert Hood,
Gerry Rafferty,
Tommy Roe,
Symarip,
Adolescents,
X-Ray Spex,
Flash Fearless,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.