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 Poland and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Charles Mingus to the disco kids.
I played it at the Roxy.
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 Roger Hodgson. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics 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?
Bang on a Can All-Stars,
Japan,
Peter and Kerry,
Icehouse,
The Black Dice,
Panda Bear,
The Gun Club,
Kango’s Stein Massive,
Motorama,
Shuggie Otis,
Reuben Wilson,
Derrick Morgan,
Popol Vuh,
Crispy Ambulance,
Q and Not U,
The Golliwogs,
This Heat,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gories,
The Fortunes,
The Five Americans,
The Fire Engines,
Outsiders,
10cc,
E-Dancer,
The Birthday Party,
The Fuzztones,
Zero Boys,
T. Rex,
World's Most,
Rufus Thomas,
A Flock of Seagulls,
Cameo,
Lyres,
The Fugs,
Model 500,
Heavy D & The Boyz,
Brick,
T.S.O.L.,
Bobby Womack,
Jawbox,
Marshall Jefferson,
Section 25,
Curtis Mayfield,
Eyeless In Gaza,
Nik Kershaw,
Deadbeat,
Althea and Donna,
Cabaret Voltaire,
Eric Copeland,
X-101,
Young Marble Giants,
Grey Daturas,
Jeff Mills,
Sister Nancy,
Echo & the Bunnymen,
Kurtis Blow,
Eddi Front,
Unrelated Segments,
Lebanon Hanover,
Deakin,
Stiv Bators,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.