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 Mongolia and from Bremen.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Marc Almond to the disco 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 Bill Near. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Excepter 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Mantronix,
Captain Beefheart & His Magic Band,
Excepter,
Dorothy Ashby,
Throbbing Gristle,
Thompson Twins,
Wasted Youth,
Hashim,
The Chocolate Watch Band,
Pylon,
Mandrill,
The Dead C,
Graham Central Station,
Roy Ayers Ubiquity,
Dawn Penn,
This Heat,
Eddi Front,
U.S. Maple,
Soft Machine,
Ronnie Foster,
Blake Baxter,
Swell Maps,
Clear Light,
Patti Smith,
Minor Threat,
The New Christs,
The West Coast Pop Art Experimental Band,
Michelle Simonal,
Mo-Dettes,
Mary Jane Girls,
Cymande,
The Knickerbockers,
Nik Kershaw,
Derrick May,
Fad Gadget,
Neil Young,
Soft Cell,
Avey Tare's Slasher Flicks,
Rahsaan Roland Kirk,
Joyce Sims,
Pantytec,
The Index,
Crash Course in Science,
Peter and Kerry,
MDC,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Evens,
Matthew Halsall,
Andrew Ashong & Theo Parrish,
Marine Girls,
Interpol,
The Moody Blues,
Dual Sessions,
Echospace,
A Flock of Seagulls,
Rhythim Is Rhythim,
the Normal,
Magma,
Gong,
The Gap Band,
The Cramps,
The Smiths, The Smiths, The Smiths, The Smiths.
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.