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 Afghanistan and from Tokyo.
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 1973.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Second Layer to the dance kids.
I played it at Trash.
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 Lyres. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Lee Hazlewood,
Stockholm Monsters,
the Association,
The Toasters,
Tomorrow,
Toni Rubio,
The West Coast Pop Art Experimental Band,
Curtis Mayfield,
Cluster,
The Vogues,
Big Daddy Kane,
Teenage Jesus and the Jerks,
Lebanon Hanover,
June of 44,
David McCallum,
Sad Lovers and Giants,
Slick Rick,
Camouflage,
Magma,
Sly & The Family Stone,
The Neon Judgement,
Jesper Dahlbäck,
La Düsseldorf,
Ultramagnetic MC's,
Harmonia,
Iggy Pop,
Soft Cell,
Dorothy Ashby,
The Busters,
Josef K,
Grauzone,
Vainqueur,
Ituana,
Porter Ricks,
Scrapy,
The Motions,
Spandau Ballet,
the Germs,
Wire,
X-101,
T. Rex,
Whodini,
Electric Prunes,
Angels of Light & Akron/Family,
Lizzy Mercier Descloux,
Nation of Ulysses,
Anakelly,
The Monks,
The Dead C,
Eve St. Jones,
Radio Birdman,
CMW,
Man Eating Sloth,
Average White Band,
John Lydon,
Y Pants,
Dark Day,
kango's stein massive,
The Gun Club,
L. Decosne,
Warren Ellis,
Parry Music,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.