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 Qatar and from Tokyo.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Portland 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 snare 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 Grandmaster Flash and the Furious Five to the disco 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 Morten Harket. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Basic Channel,
The Buckinghams,
Symarip,
Marc Almond,
The Dave Clark Five,
MC5,
Model 500,
Susan Cadogan,
Echospace,
Pet Shop Boys,
The Count Five,
Sound Behaviour,
Loose Ends,
Ponytail,
Oneida,
Fatback Band,
Be Bop Deluxe,
Ituana,
Hasil Adkins,
Lightning Bolt,
The Gories,
Tubeway Army,
Bootsy Collins,
Quando Quango,
The Dead C,
Stockholm Monsters,
Barclay James Harvest,
Negative Approach,
Pantaleimon,
X-Ray Spex,
La Düsseldorf,
Los Fastidios,
Ultramagnetic MC's,
The Residents,
Freddie Wadling,
The Doors,
The Slits,
Isaac Hayes,
Pagans,
The Last Poets,
Moss Icon,
Rekid,
Jerry's Kids,
Moebius,
Manfred Mann's Earth Band,
The American Breed,
New York Dolls,
Gang Starr,
Tomorrow,
UT,
Kayak,
The Remains,
Avey Tare's Slasher Flicks,
Brothers Johnson,
John Lydon,
Fifty Foot Hose,
Barry Ungar,
The Flesh Eaters,
Rakim,
The Alarm Clocks,
Second Layer, Second Layer, Second Layer, Second Layer.
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.