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 Sri Lanka and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 F. McDonald to the funk kids.
I played it at the Troubador.
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 Lou Reed. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Move,
Tropical Tobacco,
Albert Ayler,
Motorama,
Peter & Gordon,
Loose Ends,
James White and The Blacks,
Lebanon Hanover,
Lightning Bolt,
Mantronix,
Richard Hell and the Voidoids,
Radiopuhelimet,
Ten City,
Scientists,
Donald Byrd,
Sister Nancy,
Erasure,
The Jesus and Mary Chain,
John Foxx,
Cluster,
Bill Wells,
Ajijia Myrayebe,
Archie Shepp,
Dual Sessions,
Essential Logic,
The Monochrome Set,
The Buckinghams,
Sonny Sharrock,
Parry Music,
Spandau Ballet,
Ken Boothe,
Eddi Front,
The Alarm Clocks,
T. Rex,
Maurizio,
Scion,
Tubeway Army,
Harry Pussy,
The Knickerbockers,
Sällskapet,
Rowland S Howard / Lydia Lunch,
Avey Tare's Slasher Flicks,
Stetsasonic,
Crispian St. Peters,
The Slits,
Lalann,
Au Pairs,
Max Romeo,
Crash Course in Science,
DJ Sneak,
Juan Atkins,
Excepter,
Throbbing Gristle,
UT,
Danielle Patucci,
Kevin Saunderson,
T.S.O.L.,
It's A Beautiful Day,
Drive Like Jehu,
Josef K,
Angels of Light & Akron/Family,
Los Fastidios,
The Victims, The Victims, The Victims, The Victims.
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.