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 Indonesia and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Inner City 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 The Kinks. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Sly & The Family Stone,
Joe Finger,
Eden Ahbez,
Sandy B,
Rowland S Howard / Lydia Lunch,
Symarip,
Technova,
Joe Smooth,
Liliput,
Hot Snakes,
Henry Cow,
World's Most,
Oppenheimer Analysis,
T. Rex,
Q and Not U,
Ultramagnetic MC's,
Scientists,
Lindisfarne,
Lightning Bolt,
Essential Logic,
Ronnie Foster,
Eyeless In Gaza,
Major Organ And The Adding Machine,
The Victims,
Monks,
Chris & Cosey,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Porter Ricks,
Derrick Morgan,
Icehouse,
Godley & Creme,
The Raincoats,
Youth Brigade,
Matthew Bourne,
10cc,
The Fire Engines,
Bob Dylan,
Basic Channel,
Excepter,
Bauhaus,
Delon & Dalcan,
Jacob Miller,
MC5,
Public Enemy,
Tres Demented,
Spoonie Gee,
Kerrie Biddell,
The Sound,
cv313,
The New Christs,
Kaleidoscope,
Soul II Soul,
The Star Department,
Young Marble Giants,
The Walker Brothers,
The Cure,
The Men They Couldn't Hang,
Bobbi Humphrey,
The Techniques,
Fat Boys,
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.