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 Serbia and from Philadelphia.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Winnipeg 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Vladislav Delay to the disco 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 Dennis Brown. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Neil Young,
A Flock of Seagulls,
Q65,
Porter Ricks,
Lou Reed & John Cale,
Albert Ayler,
Reuben Wilson,
Newcleus,
Boogie Down Productions,
Cymande,
Desert Stars,
48th St. Collective,
Curtis Mayfield,
Man Eating Sloth,
PIL,
Anakelly,
Derrick Morgan,
James Chance & The Contortions,
The Leaves,
Rakim,
Gil Scott Heron,
Ten City,
Nick Cave & The Bad Seeds,
The Red Krayola,
The Walker Brothers,
Inner City,
Sun Ra,
Liaisons Dangereuses,
Derrick May,
Minnie Riperton,
Toni Rubio,
Robert Görl,
Skaos,
Henry Cow,
Gabor Szabo,
Intrusion,
Althea and Donna,
The Cure,
Au Pairs,
The Misunderstood,
Gong,
Mad Mike,
The Gladiators,
Strawberry Alarm Clock,
The Index,
Sixth Finger,
Sex Pistols,
Erasure,
Sällskapet,
Avey Tare & Kría Brekkan,
Eric Copeland,
The Techniques,
Jeru the Damaja,
The Birthday Party,
The Mojo Men,
The Offenders,
Saccharine Trust,
Amon Düül,
Infiniti,
Anthony Braxton,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.