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 Niger and from Calgary.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Bremen and Spokane.
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 1976 at the first Wire practice in a loft in Watford.
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 Mad Mike to the punk kids.
I played it at CBGB's.
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 Bobby Sherman. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Remains,
Ultra Naté,
The J.B.'s,
Lakeside,
The Cowsills,
The Detroit Cobras,
X-Ray Spex,
The Sound,
Teenage Jesus and the Jerks,
Pussy Galore,
Blancmange,
Minutemen,
The Dave Clark Five,
Magazine,
The Pop Group,
The Selecter,
Marc Almond,
The Fuzztones,
Bootsy's Rubber Band,
Shuggie Otis,
Outsiders,
a-ha,
Marine Girls,
Big Daddy Kane,
T. Rex,
Louis and Bebe Barron,
Masters at Work,
World's Most,
The Black Dice,
Black Moon,
Sexual Harrassment,
Faraquet,
Be Bop Deluxe,
The Move,
Underground Resistance,
The Count Five,
Bill Wells,
Terrestrial Tones,
Model 500,
Mark Hollis,
Negative Approach,
Technova,
Hasil Adkins,
Scan 7,
Vainqueur,
The Royal Family And The Poor,
Sparks,
Wasted Youth,
Rosa Yemen,
X-101,
Arcadia,
The Durutti Column,
Sunsets and Hearts,
Isaac Hayes,
Alice Coltrane,
Minnie Riperton,
Neu!,
Grey Daturas,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.