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 Liberia and from Winnipeg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Lou Reed & John Cale to the grunge kids.
I played it at the 40 Watt.
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 Warsaw. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Chris & Cosey,
Traffic Nightmare,
Eric B and Rakim,
Soulsonic Force,
A Flock of Seagulls,
Neu!,
Glambeats Corp.,
Funkadelic,
Delta 5,
The Jesus and Mary Chain,
Cabaret Voltaire,
June of 44,
New York Dolls,
Rod Modell,
Terry Callier,
These Immortal Souls,
Sight & Sound,
The Detroit Cobras,
New Order,
Lucky Dragons,
Grauzone,
Girls At Our Best!,
Warsaw,
H. Thieme,
Fort Wilson Riot,
Joyce Sims,
Angels of Light & Akron/Family,
Swell Maps,
The Dave Clark Five,
Fela Kuti,
The Red Krayola,
Ultravox,
The Smiths,
Laurel Aitken,
X-101,
Pharaoh Sanders and the Fire Engines,
Bill Wells,
Brothers Johnson,
Mark Hollis,
X-102,
The Fugs,
Sun Ra,
Bluetip,
Mo-Dettes,
Jeru the Damaja,
Justin Hinds & The Dominoes,
The Gap Band,
Masters at Work,
Depeche Mode,
Cheater Slicks,
Sparks,
Freddie Wadling,
The Gun Club,
Danielle Patucci,
Jawbox,
UT,
Pulsallama,
Crash Course in Science,
Ohio Players,
Amazonics,
Oppenheimer Analysis,
Orchestral Manoeuvres in the Dark,
Magma, Magma, Magma, Magma.
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.