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 Romania and from Lille.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Cairo and Spokane.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Wake to the crunk kids.
I played it at the Astoria.
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 Kurtis Blow. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Maleditus Sound 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Fortunes,
Amon Düül II,
Johnny Clarke,
Neu!,
Jeru the Damaja,
David McCallum,
Derrick May,
Avey Tare & Kría Brekkan,
Suburban Knight,
New York Dolls,
Young Marble Giants,
Excepter,
Bobby Womack,
Roger Hodgson,
Fela Kuti,
The Move,
Yazoo,
Ultramagnetic MC's,
Severed Heads,
Scott Walker,
Siouxsie and the Banshees,
Flamin' Groovies,
Albert Ayler,
Lafayette Afro Rock Band,
Aaron Thompson,
Animal Collective,
Dr. Dre and Snoop Doggy Dog,
The J.B.'s,
The Smiths,
Fluxion,
The Zeros,
Los Fastidios,
Max Romeo,
The Blues Magoos,
Matthew Halsall,
Kool Moe Dee,
Country Teasers,
Monks,
Sonny Sharrock,
F. McDonald,
KRS-One,
The Dead C,
Dark Day,
Liliput,
Rhythim Is Rhythim,
Banda Bassotti,
Ash Ra Tempel,
Yaz,
The Cramps,
Essential Logic,
Harry Pussy,
Lou Reed,
Kango’s Stein Massive,
Bob Dylan,
Jacob Miller,
Moby Grape,
Sällskapet,
Idris Muhammad,
Stiv Bators,
Rufus Thomas,
Boredoms,
Graham Central Station,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.