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 Barbados and from Lyon.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Seoul and Toronto.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin 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 Warren Ellis to the rock 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 Ornette Coleman. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every The Dirtbombs 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 '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Mo-Dettes,
Byron Stingily,
Buzzcocks,
Massinfluence,
Make Up,
Peter Gordon & Love of Life Orchestra,
Babytalk,
Marmalade,
Rapeman,
Letta Mbulu,
Accadde A,
Echo & the Bunnymen,
Absolute Body Control,
Soul II Soul,
Jeru the Damaja,
Lower 48,
The Evens,
Gang Starr,
Roy Ayers Ubiquity,
Bad Manners,
The Victims,
Andrew Hill,
Slick Rick,
Aswad,
Lafayette Afro Rock Band,
Pere Ubu,
Los Fastidios,
Vainqueur,
Janne Schatter,
Marc Almond,
Marcia Griffiths,
In Retrospect,
Soul Sonic Force,
Suicide,
The Sound,
Tomorrow,
La Düsseldorf,
John Holt,
The Dead C,
Fear,
Guru Guru,
Funkadelic,
Bootsy Collins,
Eurythmics,
Throbbing Gristle,
Crash Course in Science,
The Alarm Clocks,
The Selecter,
Sunsets and Hearts,
James Chance & The Contortions,
Tubeway Army,
The J.B.'s,
Scan 7,
Shoche,
Black Bananas,
The Moleskins,
Leonard Cohen,
Gil Scott-Heron & Brian Jackson,
Kaleidoscope,
Wolf Eyes,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.