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 Montenegro and from Manila.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Tokyo 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 Mistral practice in a loft in Amsterdam.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Stiv Bators to the electroclash 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 Warren Ellis. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Manfred Mann's Earth Band,
Nas,
Index,
Soul Sonic Force,
The Modern Lovers,
The Human League,
Mo-Dettes,
Buzzcocks,
Amon Düül,
Lucky Dragons,
The Pop Group,
The Pretty Things,
Roxette,
Oblivians,
Chris Corsano,
Nirvana,
Blancmange,
Von Mondo,
The Five Americans,
Sällskapet,
Camouflage,
Red Lorry Yellow Lorry,
Kool Moe Dee,
Pere Ubu,
Sun City Girls,
Don Cherry,
Wings,
Idris Muhammad,
This Heat,
DNA,
Mr. Review,
Warsaw,
Yellowson,
Jesper Dahlbäck,
Blake Baxter,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
China Crisis,
Gary Puckett & The Union Gap,
the Soft Cell,
Masters at Work,
the Sonics,
Rhythm & Sound,
Circle Jerks,
Sun Ra,
Johnny Osbourne,
Underground Resistance,
Skaos,
Basic Channel,
Gabor Szabo,
Outsiders,
Echo & the Bunnymen,
the Human League,
Graham Central Station,
ABC,
Scion,
The Sound,
Gregory Isaacs,
Jeru the Damaja,
Siglo XX,
Marc Romboy vs. Booka Shade,
Robert Wyatt,
Rites of Spring,
The Seeds, The Seeds, The Seeds, The Seeds.
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.