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 Luxembourg and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Mumbai 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 clarinet 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 Yellowson to the disco 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 Kenny Larkin. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Pagans record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Selector Dub Narcotic,
Lyres,
JFA,
Parry Music,
Glambeats Corp.,
MC5,
Arcadia,
the Bar-Kays,
Liaisons Dangereuses,
Agent Orange,
June Days,
The Blues Magoos,
Ohio Players,
Skaos,
Graham Central Station,
Roy Ayers Ubiquity,
Bobby Byrd,
Cluster,
Jesper Dahlbäck,
The Grass Roots,
Susan Cadogan,
Rahsaan Roland Kirk,
Al Stewart,
Warren Ellis,
Blake Baxter,
Fat Boys,
Man Parrish,
Supertramp,
New Age Steppers,
Mary Jane Girls,
The Gun Club,
Neil Young & Crazy Horse,
Quando Quango,
Mars,
Peter and Kerry,
The Techniques,
Crispy Ambulance,
John Cale,
The Real Kids,
Radiopuhelimet,
The Toasters,
Intrusion,
PIL,
Dorothy Ashby,
Andrew Ashong & Theo Parrish,
The Victims,
Suburban Knight,
Half Japanese,
The Black Dice,
Scott Walker,
Nation of Ulysses,
The Knickerbockers,
Bad Manners,
The Moody Blues,
R.M.O.,
Con Funk Shun,
Moby Grape,
Mark Hollis,
Pussy Galore,
The Cowsills,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.