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 Taiwan and from Tokyo.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Aural Exciters to the electroclash kids.
I played it at the Troubador.
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 Residents. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ 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 Beau Brummels,
Henry Cow,
Lizzy Mercier Descloux,
X-102,
Suburban Knight,
Crash Course in Science,
Glambeats Corp.,
Big Daddy Kane,
It's A Beautiful Day,
Al Stewart,
Heavy D & The Boyz,
Japan,
L. Decosne,
These Immortal Souls,
The Flesh Eaters,
Public Image Ltd.,
Minny Pops,
Delta 5,
Red Lorry Yellow Lorry,
Alison Limerick,
B.T. Express,
Black Moon,
Hashim,
The Count Five,
Marmalade,
Warsaw,
Yusef Lateef,
Mo-Dettes,
Sight & Sound,
Andrew Hill,
Barbara Tucker,
Lower 48,
Tubeway Army,
10cc,
DJ Style,
Boogie Down Productions,
Kerrie Biddell,
Magma,
Rahsaan Roland Kirk,
Quando Quango,
Aural Exciters,
Scion,
Hasil Adkins,
Spoonie Gee,
The Searchers,
the Bar-Kays,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bronski Beat,
Soul Sonic Force,
Cluster,
Urselle,
Grey Daturas,
Janne Schatter,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
The Cowsills,
Neil Young & Crazy Horse,
Minnie Riperton,
8 Eyed Spy,
Magazine,
The Pop Group,
Mars,
The American Breed, The American Breed, The American Breed, The American Breed.
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.