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 Costa Rica and from Stockholm.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 The Doors to the grunge kids.
I played it at the Spitz.
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 The Gladiators. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Vladislav Delay 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
T. Rex,
Brick,
Negative Approach,
The Cramps,
Moebius,
Rakim,
Essential Logic,
Crooked Eye,
The Vogues,
Chris & Cosey,
a-ha,
World's Most,
Funky Four + One,
Gerry Rafferty,
The Alarm Clocks,
Magazine,
Panda Bear,
The Mojo Men,
the Sonics,
Peter and Kerry,
Oblivians,
Dennis Brown,
The Dirtbombs,
Magma,
AZ,
Robert Görl,
Amon Düül,
Urselle,
The Happenings,
The Techniques,
Oneida,
London Community Gospel Choir,
Thee Headcoats,
Mandrill,
Desert Stars,
The Toasters,
Steve Hackett,
Nation of Ulysses,
Rites of Spring,
The Music Machine,
Anthony Braxton,
K-Klass,
Sunsets and Hearts,
Siouxsie and the Banshees,
Peter Gordon & Love of Life Orchestra,
The Detroit Cobras,
Robert Wyatt,
Lou Reed & Metallica,
Funkadelic,
Swans,
Super Lover Cee & Casanova Rud,
Marmalade,
Eddi Front,
Unrelated Segments,
The Gories,
Notorious Big And Bone Thugs,
Justin Hinds & The Dominoes,
Cluster,
Mantronix,
Soft Machine,
Scientists,
The Jesus and Mary Chain,
Vainqueur,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.