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 Shanghai.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 Kaleidoscope to the rock kids.
I played it at the Roxy.
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 Fugs. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Rahsaan Roland Kirk,
Juan Atkins,
The Smiths,
Darondo,
Scratch Acid,
Bill Wells,
June of 44,
Joe Smooth,
Bobbi Humphrey,
Teenage Jesus and the Jerks,
Larry & the Blue Notes,
Steve Hackett,
Kerrie Biddell,
The Star Department,
Rhythim Is Rhythim,
Dual Sessions,
Marmalade,
Amon Düül II,
Shuggie Otis,
Fort Wilson Riot,
Liliput,
Max Romeo,
Andrew Hill,
Nils Olav,
Severed Heads,
The Doobie Brothers,
Swans,
Eddi Front,
China Crisis,
Audionom,
8 Eyed Spy,
The Gories,
Babytalk,
Joensuu 1685,
Tubeway Army,
Drexciya,
kango's stein massive,
James White and The Blacks,
Parry Music,
Rekid,
Strawberry Alarm Clock,
Eurythmics,
Drive Like Jehu,
Rhythm & Sound,
Tears for Fears,
Soul Sonic Force,
Davy DMX,
Goldenarms,
Blancmange,
Porter Ricks,
The Motions,
Aural Exciters,
Quando Quango,
Lou Christie,
Q and Not U,
Japan,
Eden Ahbez,
Interpol,
Bob Dylan,
The Doors,
Sugar Minott,
Agent Orange,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.