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 Ecuador and from Woodstock.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Don Cherry to the electroclash kids.
I played it at the Hacienda.
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 Electric Prunes. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Vogues,
Soulsonic Force,
Sunsets and Hearts,
Sonny Sharrock,
Zero Boys,
Mad Mike,
Joe Smooth,
The Beau Brummels,
JFA,
Lakeside,
London Community Gospel Choir,
Lucky Dragons,
The Busters,
Funky Four + One,
Kas Product,
T.S.O.L.,
Albert Ayler,
Eddi Front,
The Walker Brothers,
Con Funk Shun,
Grauzone,
Supertramp,
The West Coast Pop Art Experimental Band,
the Human League,
Ornette Coleman,
Gang of Four,
Blossom Toes,
Stockholm Monsters,
Fela Kuti,
Soft Machine,
The Smoke,
R.M.O.,
Kurtis Blow,
The Zeros,
Ultimate Spinach,
Parry Music,
The Cramps,
Black Moon,
The Cure,
Tres Demented,
Cabaret Voltaire,
Scrapy,
Byron Stingily,
Fugazi,
Jeru the Damaja,
Tomorrow,
Magma,
DeepChord presents Echospace,
Skaos,
Flipper,
Todd Rundgren,
Echo & the Bunnymen,
Ash Ra Tempel,
Bang On A Can,
Archie Shepp,
Wighnomy Brothers & Robag Wruhme,
E-Dancer,
Radiohead,
Blancmange,
the Bar-Kays,
Cheater Slicks,
Goldenarms,
Mo-Dettes,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.