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 Malaysia and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Mumbai and Shanghai.
I'm losing my edge to the art-school Tehran 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Liaisons Dangereuses to the electroclash kids.
I played it at the 40 Watt.
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 The Motions. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud 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?
Marc Romboy vs. Booka Shade,
The Music Machine,
Sugar Minott,
Fear,
Charles Mingus,
Toni Rubio,
Pussy Galore,
Dave Gahan,
The West Coast Pop Art Experimental Band,
Zapp,
Andrew Hill,
The Zeros,
Neil Young & Crazy Horse,
The Tremeloes,
Josef K,
Thee Headcoats,
Massinfluence,
The Buckinghams,
CMW,
Terry Callier,
T.S.O.L.,
Spandau Ballet,
Derrick May,
FM Einheit,
Radio Birdman,
Gong,
The Cowsills,
Mission of Burma,
Eric Dolphy,
Soul II Soul,
Quantec,
B.T. Express,
Mandrill,
Hoover,
Brick,
The Last Poets,
Ituana,
Robert Hood,
Joyce Sims,
Bootsy Collins,
Beasts of Bourbon,
Pierre Henry,
Gichy Dan,
R.M.O.,
Cabaret Voltaire,
Eyeless In Gaza,
Jeff Lynne,
The Victims,
Spoonie Gee,
Jesper Dahlbäck,
Sunsets and Hearts,
Zero Boys,
Ossler,
The Slits,
Arthur Verocai,
Howard Jones,
Khruangbin,
Jeru the Damaja,
The Chocolate Watch Band,
John Lydon,
Gastr Del Sol,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.