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 Seychelles and from Milan.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Hong Kong 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 Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Albert Ayler to the grime kids.
I played it at CBGB's.
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 Eli Mardock. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Zapp 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Banda Bassotti,
The Pop Group,
Thee Headcoats,
Graham Central Station,
the Soft Cell,
Oblivians,
Sonic Youth,
Selector Dub Narcotic,
Kango’s Stein Massive,
Model 500,
Yazoo,
Groovy Waters,
The Doors,
Reagan Youth,
Qualms,
Erasure,
Zero Boys,
Laurel Aitken,
Faust,
Black Flag,
Crash Course in Science,
48th St. Collective,
Silicon Teens,
Country Joe & The Fish,
Wally Richardson,
Pole,
Technova,
Lonnie Liston Smith,
Swans,
Johnny Clarke,
Stereo Dub,
the Association,
The Dead C,
Deepchord,
Gian Franco Pienzio,
The Gun Club,
Charles Mingus,
Drexciya,
Slick Rick,
Beasts of Bourbon,
Dark Day,
The Standells,
Grey Daturas,
Marine Girls,
Sarah Menescal,
Skarface,
Wasted Youth,
Minnie Riperton,
Depeche Mode,
Liaisons Dangereuses,
Saccharine Trust,
Icehouse,
PIL,
Faraquet,
Das Ding,
Supertramp,
Bobby Hutcherson,
Kas Product,
Aaron Thompson,
Janne Schatter,
Black Pus, Black Pus, Black Pus, Black Pus.
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.