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 Somalia and from Calgary.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Delhi and Calgary.
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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 a-ha to the grunge kids.
I played it at Cafe Wha.
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 New York Dolls. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Judy Mowatt,
Eric Dolphy,
Oneida,
Kango’s Stein Massive,
Rites of Spring,
Liliput,
Popol Vuh,
Pylon,
It's A Beautiful Day,
Eurythmics,
Derrick May,
Sound Behaviour,
U.S. Maple,
The West Coast Pop Art Experimental Band,
Hardrive,
Anthony Braxton,
FM Einheit,
The Smoke,
Jeff Lynne,
The Blackbyrds,
Kauko Röyhkä ja Narttu,
Marc Almond,
Orchestral Manoeuvres in the Dark,
The Gun Club,
Camouflage,
Gian Franco Pienzio,
Model 500,
Unrelated Segments,
Pulsallama,
Heavy D & The Boyz,
The Blues Magoos,
Talk Talk,
Johnny Clarke,
Index,
Röyhkä ja Rättö ja Lehtisalo,
Crime,
Wire,
Schoolly D,
Peter and Kerry,
The Fire Engines,
Isaac Hayes,
Quadrant,
Jimmy McGriff,
Brass Construction,
Bluetip,
Glenn Branca,
The Sonics,
Ultravox,
Blossom Toes,
Drive Like Jehu,
Visionaries,LMNO, T- Love & Iriscience,
Tim Buckley,
Drexciya,
Suburban Knight,
Juan Atkins,
The Trojans,
48th St. Collective,
Cameo,
Gregory Isaacs,
Toni Rubio,
Rosa Yemen,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.