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 Venezuela and from Spokane.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Lagos.
I'm losing my edge to the art-school Toronto 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 Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Liliput to the electroclash kids.
I played it at the Astoria.
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 Dual Sessions. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every The Gap Band 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 '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
The Barracudas,
Jacques Brel,
DNA,
Minor Threat,
The Move,
Louis and Bebe Barron,
The Doors,
Rites of Spring,
Camberwell Now,
Symarip,
Scrapy,
Essential Logic,
The Blues Magoos,
Wire,
Urselle,
Kool Moe Dee,
Massinfluence,
Bootsy's Rubber Band,
The Detroit Cobras,
The Offenders,
Flamin' Groovies,
Tears for Fears,
Leonard Cohen,
Icehouse,
Gian Franco Pienzio,
Pharoah Sanders,
Kerrie Biddell,
Byron Stingily,
Ultimate Spinach,
Ituana,
Grauzone,
Todd Rundgren,
Ultramagnetic MC's,
The Techniques,
The Birthday Party,
The Jesus and Mary Chain,
Rhythm & Sound,
Ronan,
Marvin Gaye,
Oppenheimer Analysis,
Bill Near,
The Evens,
Surgeon,
The Mummies,
The Fugs,
The Red Krayola,
Tommy Roe,
Super Lover Cee & Casanova Rud,
Eyeless In Gaza,
Desert Stars,
The J.B.'s,
Richard Hell and the Voidoids,
The Blackbyrds,
The Pop Group,
Rahsaan Roland Kirk,
Eve St. Jones,
Lee Hazlewood,
Sly & The Family Stone,
Sugar Minott,
Mandrill,
Minutemen,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.