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 Cyprus and from Edmonton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Matthew Bourne to the dance 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 Au Pairs. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Sun City Girls,
Joe Finger,
The Trojans,
Andrew Hill,
Liliput,
Porter Ricks,
Sandy B,
Q and Not U,
Nik Kershaw,
Bob Dylan,
Liaisons Dangereuses,
Alison Limerick,
The Five Americans,
Oblivians,
Japan,
Ponytail,
Lizzy Mercier Descloux,
Public Enemy,
Wasted Youth,
Young Marble Giants,
Junior Murvin,
Brothers Johnson,
John Foxx,
Audionom,
Ultra Naté,
Ash Ra Tempel,
Chris Corsano,
Los Fastidios,
Smog,
The Jesus and Mary Chain,
The Monks,
Man Eating Sloth,
Gil Scott-Heron & Brian Jackson,
The Standells,
Albert Ayler,
Terry Callier,
Shoche,
Arcadia,
Little Man,
Bill Near,
Joey Negro,
Scan 7,
Rowland S Howard / Lydia Lunch,
KRS-One,
Ultramagnetic MC's,
Stiv Bators,
Index,
Infiniti,
June of 44,
Leonard Cohen,
Scott Walker,
the Bar-Kays,
Dave Gahan,
The Modern Lovers,
Severed Heads,
The Monochrome Set,
Max Romeo,
Camouflage,
Johnny Osbourne,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.