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 Slovenia and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Portland and Paris.
I'm losing my edge to the art-school Glasgow 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Nico 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 The Jesus and Mary Chain. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Swans,
Thompson Twins,
Bill Near,
The Fortunes,
Flamin' Groovies,
Nation of Ulysses,
Crime,
Eyeless In Gaza,
Bluetip,
New Age Steppers,
Henry Cow,
Ornette Coleman,
Grandmaster Flash,
Pulsallama,
Deakin,
John Holt,
Anakelly,
Girls At Our Best!,
The Walker Brothers,
Siouxsie and the Banshees,
Warren Ellis,
Graham Central Station,
The Gap Band,
OOIOO,
Leonard Cohen,
Negative Approach,
Robert Görl,
The Happenings,
Wally Richardson,
Michelle Simonal,
Model 500,
a-ha,
Simply Red,
Rotary Connection,
Metal Thangz,
Bang On A Can,
Boredoms,
June Days,
Sad Lovers and Giants,
Junior Murvin,
Funky Four + One,
June of 44,
Masters at Work,
Janne Schatter,
David Axelrod,
Black Pus,
DJ Sneak,
Index,
Black Moon,
The Associates,
Parry Music,
Boz Scaggs,
Ludus,
Wire,
Faust,
The Residents,
The Mojo Men,
This Heat,
The Remains, The Remains, The Remains, The Remains.
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.