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 Gabon and from Salvador.
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 1961 to 1975.
I'm losing my edge.
To all the kids in New York and Cairo.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Groovy Waters to the crunk 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 Derrick May. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Eli Mardock 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Moby Grape,
Swell Maps,
Model 500,
Gang of Four,
Groovy Waters,
Man Parrish,
The Royal Family And The Poor,
Althea and Donna,
Khruangbin,
Massinfluence,
Alton Ellis,
Mad Mike,
Sonic Youth,
Ralphi Rosario,
The Selecter,
Ultravox,
John Coltrane,
Scrapy,
Livin' Joy,
The Beau Brummels,
The Fire Engines,
John Lydon,
T. Rex,
Warsaw,
Adolescents,
Depeche Mode,
Sound Behaviour,
Can,
Severed Heads,
Soft Cell,
David Axelrod,
The Young Rascals,
The Searchers,
Steve Hackett,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Simply Red,
Pylon,
Albert Ayler,
Michelle Simonal,
Tommy Roe,
Louis and Bebe Barron,
The Offenders,
Kurtis Blow,
Minnie Riperton,
Parry Music,
Gil Scott-Heron & Brian Jackson,
Black Flag,
Absolute Body Control,
Yellowson,
Girls At Our Best!,
Accadde A,
Throbbing Gristle,
Tears for Fears,
Procol Harum,
Country Joe & The Fish,
New York Dolls,
Johnny Osbourne,
Ken Boothe,
Maurizio, Maurizio, Maurizio, Maurizio.
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.