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 Turkey and from Milan.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Stockholm 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Dirtbombs to the techno 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 Glenn Branca. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal funk 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Bronski Beat,
Bill Wells,
X-101,
Tomorrow,
Jesper Dahlback,
Pussy Galore,
Warren Ellis,
Rosa Yemen,
Groovy Waters,
Sun Ra Arkestra,
Wally Richardson,
Bizarre Inc.,
Hot Snakes,
Royal Trux,
Rufus Thomas,
Malaria!,
Livin' Joy,
Electric Light Orchestra,
Dorothy Ashby,
Lakeside,
Accadde A,
Soft Cell,
Urselle,
Matthew Halsall,
DJ Style,
Kango’s Stein Massive,
Stockholm Monsters,
Todd Rundgren,
Neil Young,
Joyce Sims,
Brand Nubian,
Roy Ayers,
John Cale,
Traffic Nightmare,
Sonic Youth,
Ralphi Rosario,
Joe Finger,
Technova,
Pharaoh Sanders and the Fire Engines,
U.S. Maple,
OOIOO,
Sam Rivers,
Flash Fearless,
The Moleskins,
Steve Hackett,
The Saints,
Peter and Kerry,
The Mummies,
Soulsonic Force,
LL Cool J,
Dead Boys,
Donald Byrd,
Tubeway Army,
The Associates,
The Grass Roots,
Kas Product,
Arcadia,
Fad Gadget,
Los Fastidios,
Porter Ricks,
The New Christs,
New Order,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.