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 Nepal and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1974.
I'm losing my edge.
To all the kids in Spokane and Beijing.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Liaisons Dangereuses to the rap 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 Grandmaster Flash. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every The Raincoats 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
John Lydon,
Bauhaus,
AZ,
Adolescents,
Kerrie Biddell,
Ponytail,
Big Daddy Kane,
Unwound,
Jerry's Kids,
DNA,
The Detroit Cobras,
Ralphi Rosario,
Lower 48,
Ten City,
The Slits,
The Durutti Column,
The Smoke,
Cybotron,
Art Ensemble Of Chicago,
The Mighty Diamonds,
Todd Terry,
The Angels of Light,
London Community Gospel Choir,
The Slackers,
Little Man,
MC5,
Anakelly,
Lee Hazlewood,
F. McDonald,
Aural Exciters,
Notorious BIG live in Amsterdam,
Fugazi,
Maleditus Sound,
Neu!,
Hot Snakes,
Funkadelic,
Swans,
Sexual Harrassment,
The Pretty Things,
Magma,
Q65,
James White and The Blacks,
Davy DMX,
James Chance & The Contortions,
The Motions,
Echo & the Bunnymen,
Lightning Bolt,
Robert Görl,
Josef K,
Gil Scott-Heron and Jamie xx,
Nirvana,
Kerri Chandler,
Shuggie Otis,
Intrusion,
Peter and Kerry,
Mo-Dettes,
Lalann,
Technova,
Half Japanese,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.