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 Cuba and from Johannesburg.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school New York 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 Janne Schatter to the funk 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 Nils Olav. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Unwound 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 '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Davy DMX,
The Move,
Reagan Youth,
Fear,
Orchestral Manoeuvres in the Dark,
Wolf Eyes,
Intrusion,
Sonny Sharrock,
The Moody Blues,
Faraquet,
Oppenheimer Analysis,
Erasure,
Flamin' Groovies,
Grauzone,
Sound Behaviour,
Infiniti,
Pole,
Dual Sessions,
Byron Stingily,
Kings Of Tomorrow,
The Angels of Light,
June Days,
Eurythmics,
The Slits,
Bang on a Can All-Stars,
Ossler,
Boredoms,
Simply Red,
Section 25,
the Slits,
Shuggie Otis,
Ash Ra Tempel,
Scott Walker + Sunn O))),
London Community Gospel Choir,
The Misunderstood,
Maurizio,
Grandmaster Flash and the Furious Five,
World's Most,
Justin Hinds & The Dominoes,
The Mojo Men,
Aswad,
The Black Dice,
Barry Ungar,
The Tremeloes,
Little Man,
Matthew Bourne,
Technova,
Arthur Verocai,
Black Sheep,
Public Image Ltd.,
Terry Callier,
Boz Scaggs,
Gang of Four,
Dorothy Ashby,
Minnie Riperton,
Kerrie Biddell,
Bootsy Collins,
The Gories,
the Germs, the Germs, the Germs, the Germs.
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.