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 Senegal and from Cairo.
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 1971.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school Mexico City 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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 Loose Ends to the funk kids.
I played it at Trash.
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 Bauhaus. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
Bronski Beat,
Graham Central Station,
Toni Rubio,
Alison Limerick,
Oppenheimer Analysis,
Lakeside,
Anakelly,
Frankie Knuckles,
Art Ensemble Of Chicago,
Q and Not U,
Rhythm & Sound,
Make Up,
The Mummies,
Minor Threat,
June of 44,
Rakim,
Lou Reed & John Cale,
Faraquet,
Gichy Dan,
Soulsonic Force,
Monolake,
Lucky Dragons,
Orchestral Manoeuvres in the Dark,
Sällskapet,
Roy Ayers Ubiquity,
The Flesh Eaters,
Infiniti,
Deadbeat,
Panda Bear,
Captain Beefheart & His Magic Band,
Reuben Wilson,
Albert Ayler,
Joe Finger,
Bill Wells,
Qualms,
Avey Tare's Slasher Flicks,
Slick Rick,
Von Mondo,
Bang on a Can All-Stars,
Massinfluence,
Bluetip,
the Swans,
The Wake,
Pagans,
Fugazi,
Sex Pistols,
Barry Ungar,
Jacques Brel,
Drexciya,
The Sound,
The Shadows of Knight,
Marine Girls,
Beasts of Bourbon,
Liliput,
Bobby Sherman,
Tres Demented,
Accadde A,
The United States of America,
Babytalk,
D'Angelo,
Connie Case, Connie Case, Connie Case, Connie Case.
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.