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 Namibia and from Columbus.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lyon and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when Lou Reed 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 Echo & the Bunnymen to the crunk kids.
I played it at the Spitz.
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 Drive Like Jehu. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Tubeway Army,
Gang Starr,
the Association,
Minny Pops,
Agitation Free,
Procol Harum,
Toni Rubio,
Y Pants,
Camberwell Now,
Gerry Rafferty,
Black Bananas,
Tim Buckley,
Scion,
The Remains,
Rapeman,
LL Cool J,
Gichy Dan,
The Fall,
Don Cherry,
Röyhkä ja Rättö ja Lehtisalo,
Lafayette Afro Rock Band,
Ossler,
Monks,
Bobby Sherman,
Sun Ra,
Severed Heads,
Model 500,
Scott Walker,
Charles Mingus,
Throbbing Gristle,
The Trojans,
Eyeless In Gaza,
Soulsonic Force,
Ponytail,
Motorama,
Suicide,
Alice Coltrane,
The Toasters,
The Music Machine,
The Cure,
Rites of Spring,
Talk Talk,
Sun City Girls,
The Grass Roots,
Symarip,
Radiohead,
Grauzone,
The American Breed,
Moebius,
Davy DMX,
Nick Fraelich,
Robert Görl,
Nico,
The Electric Prunes,
Stetsasonic,
The Durutti Column,
the Soft Cell,
Howard Jones,
The Names,
Basic Channel,
Byron Stingily,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.