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 Bahamas and from Johannesburg.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Accra 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 Ubu practice in a loft in Cleveland.
I was working on the sitar 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 Ultravox to the funk kids.
I played it at the Crocodile.
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 Cymande. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Jesper Dahlback,
Lee Hazlewood,
Porter Ricks,
Slick Rick,
Toni Rubio,
Suicide,
The Monks,
Visage,
The Count Five,
Interpol,
Brothers Johnson,
E-Dancer,
June Days,
Fad Gadget,
X-101,
Groovy Waters,
Avey Tare's Slasher Flicks,
Ajijia Myrayebe,
Barry Ungar,
Big Daddy Kane,
D'Angelo,
Sällskapet,
Bauhaus,
The Motions,
Justin Hinds & The Dominoes,
Pharaoh Sanders and the Fire Engines,
Traffic Nightmare,
Country Teasers,
Kool G Rap & DJ Polo,
Nick Cave & The Bad Seeds,
Swell Maps,
The Pop Group,
The Fuzztones,
The Detroit Cobras,
Monks,
Vaughan Mason & Crew,
Fear,
John Foxx,
Gastr Del Sol,
The Cosmic Jokers,
The Shadows of Knight,
Wolf Eyes,
Joy Division,
Gary Puckett & The Union Gap,
Cameo,
John Cale,
Depeche Mode,
The Dirtbombs,
The Velvet Underground,
Bush Tetras,
Ultimate Spinach,
Half Japanese,
Simply Red,
Bob Dylan,
Young Marble Giants,
the Sonics,
China Crisis,
Agitation Free,
Leonard Cohen,
The Busters,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.