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 Botswana and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1975.
I'm losing my edge.
To all the kids in London and Cairo.
I'm losing my edge to the art-school Manila 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 sitar 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 Jacob Miller to the grime kids.
I played it at the Troubador.
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 Kings Of Tomorrow. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Avey Tare's Slasher Flicks,
The Fire Engines,
Can,
Icehouse,
Trumans Water,
Loose Ends,
New York Dolls,
The Real Kids,
Subhumans,
Sex Pistols,
Orchestral Manoeuvres in the Dark,
Larry & the Blue Notes,
Groovy Waters,
Ralphi Rosario,
This Heat,
Lou Reed & Metallica,
David Axelrod,
Radio Birdman,
Bizarre Inc.,
The Remains,
Bill Wells,
The Doors,
Albert Ayler,
Ponytail,
Duran Duran,
Soul II Soul,
Urselle,
Sound Behaviour,
The United States of America,
Lakeside,
Public Enemy,
Clear Light,
Lucky Dragons,
A Flock of Seagulls,
the Soft Cell,
Strawberry Alarm Clock,
The Monks,
Scott Walker,
Roxette,
The Associates,
Alton Ellis,
Be Bop Deluxe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Hasil Adkins,
B.T. Express,
Terrestrial Tones,
Royal Trux,
Wolf Eyes,
Jacob Miller,
Pierre Henry,
The Fugs,
Niagra,
Rotary Connection,
Selector Dub Narcotic,
The Dave Clark Five,
The Pop Group,
Captain Beefheart & His Magic Band,
Ultra Naté,
The Doobie Brothers,
Boogie Down Productions,
The New Christs,
Das Ding,
The Gories, The Gories, The Gories, The Gories.
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.