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 Uganda and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Lille.
I'm losing my edge to the art-school Glasgow 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 chamberlin 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 Crime to the dance kids.
I played it at the Hacienda.
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 Lou Reed & Metallica. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Rotary Connection 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
The Real Kids,
Alice Coltrane,
Marc Almond,
Matthew Bourne,
Harry Pussy,
Isaac Hayes,
Aloha Tigers,
Urselle,
kango's stein massive,
Jimmy McGriff,
Franke,
Minny Pops,
Gang Green,
Super Lover Cee & Casanova Rud,
Ultravox,
Kenny Larkin,
Oblivians,
Ken Boothe,
June Days,
Eric Dolphy,
Agitation Free,
Rosa Yemen,
Eric B and Rakim,
Subhumans,
B.T. Express,
the Sonics,
Ice-T,
MDC,
Dennis Brown,
Donald Byrd,
Saccharine Trust,
Orchestral Manoeuvres in the Dark,
Justin Hinds & The Dominoes,
the Association,
The West Coast Pop Art Experimental Band,
The Sisters of Mercy,
Boredoms,
Brass Construction,
Swell Maps,
John Coltrane,
Lou Christie,
Fear,
The Martian,
Anakelly,
Derrick Morgan,
Audionom,
Sexual Harrassment,
The Mummies,
Adolescents,
Brick,
Deutsch Amerikanische Freundschaft,
Altered Images,
Harpers Bizarre,
Soul II Soul,
Chrome,
The Birthday Party,
New Order,
Slave,
Fela Kuti,
Bizarre Inc.,
Rod Modell,
Jesper Dahlback,
Bronski Beat,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.