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 Gabon and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Philadelphia 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 linndrum sounds with much patience.
I was there when David Bowie 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 Arthur Verocai to the jazz kids.
I played it at the Spitz.
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 Dead Boys. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic 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?
Moebius,
The Associates,
Nas,
Chris Corsano,
Swell Maps,
Henry Cow,
The Cure,
The Dead C,
Roy Ayers Ubiquity,
The Smoke,
The Names,
Television Personalities,
The New Christs,
The Index,
The Litter,
Siouxsie and the Banshees,
Eden Ahbez,
Stockholm Monsters,
Sight & Sound,
R.M.O.,
the Normal,
The Count Five,
Flipper,
Aaron Thompson,
the Soft Cell,
Monks,
Harry Pussy,
Von Mondo,
Super Lover Cee & Casanova Rud,
Rapeman,
Steve Hackett,
Fear,
Godley & Creme,
Donny Hathaway,
The Red Krayola,
Ossler,
The Sisters of Mercy,
Mantronix,
Rakim,
Sun Ra Arkestra,
Thinking Fellers Union Local 282,
CMW,
John Holt,
Zero Boys,
Camberwell Now,
Spoonie Gee,
Saccharine Trust,
Kango’s Stein Massive,
Harpers Bizarre,
Terry Callier,
Fela Kuti,
Rahsaan Roland Kirk,
Circle Jerks,
The Doobie Brothers,
Roxette,
Anthony Braxton,
Royal Trux,
Liliput,
Johnny Clarke,
Smog,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.