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 Romania and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Bologna 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 harpsichord 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 Metal Thangz to the dance kids.
I played it at the Astoria.
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 Babytalk. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Zapp,
Lafayette Afro Rock Band,
ABC,
Man Eating Sloth,
The Wake,
Drive Like Jehu,
Fort Wilson Riot,
Tropical Tobacco,
Ultramagnetic MC's,
Cabaret Voltaire,
The Buckinghams,
Con Funk Shun,
The Seeds,
T.S.O.L.,
Reuben Wilson,
Lee Hazlewood,
Magazine,
The Pop Group,
Rotary Connection,
The Star Department,
The Slackers,
Television,
The Kinks,
Fela Kuti,
Don Cherry,
Nas,
Cecil Taylor,
Wolf Eyes,
Franke,
Kool G Rap & DJ Polo,
In Retrospect,
Metal Thangz,
Bobby Womack,
X-Ray Spex,
Organ,
Ultravox,
Notorious BIG live in Amsterdam,
The Fire Engines,
Juan Atkins,
PIL,
Amazonics,
Scott Walker,
Moby Grape,
Bob Dylan,
Nick Cave & The Bad Seeds,
Selector Dub Narcotic,
Alison Limerick,
Marc Romboy vs. Booka Shade,
Moss Icon,
James White and The Blacks,
Nation of Ulysses,
Outsiders,
Can,
Richard Hell and the Voidoids,
Crispy Ambulance,
Negative Approach,
The Trojans,
The Remains,
The Standells,
The Monks,
Desert Stars,
Bootsy Collins,
Deakin,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.