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 Norway and from Paris.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Lyon 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 The Men They Couldn't Hang to the disco kids.
I played it at the Hacienda.
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 Sun City Girls. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Nick Fraelich 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Underground Resistance,
Ronnie Foster,
These Immortal Souls,
Robert Wyatt,
Thee Headcoats,
Aswad,
Lyres,
Depeche Mode,
Flash Fearless,
The Gories,
Sällskapet,
The Beau Brummels,
The Velvet Underground,
Glambeats Corp.,
The Knickerbockers,
Johnny Osbourne,
Joey Negro,
Desert Stars,
Rahsaan Roland Kirk,
Marshall Jefferson,
Clear Light,
Amon Düül,
The Evens,
Country Joe & The Fish,
Little Man,
Graham Central Station,
The Smoke,
The United States of America,
The Offenders,
48th St. Collective,
Main Source,
Andrew Hill,
Tommy Roe,
Wally Richardson,
World's Most,
Spoonie Gee,
Harpers Bizarre,
Sexual Harrassment,
The Litter,
Hot Snakes,
Fugazi,
UT,
Unwound,
The Fugs,
Funkadelic,
The Neon Judgement,
Sonny Sharrock,
Alphaville,
A Certain Ratio,
Stereo Dub,
Au Pairs,
Khruangbin,
Rhythm & Sound,
The Cosmic Jokers,
the Association,
Icehouse,
Bronski Beat,
T.S.O.L.,
Kauko Röyhkä ja Narttu,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.