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 Israel and from Paris.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Johannesburg 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 Robert Palmer 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 Sarah Menescal to the funk kids.
I played it at Trash.
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 Ken Boothe. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Peter & Gordon 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
DJ Style,
The Gories,
Sun Ra Arkestra,
Prince Buster,
Maleditus Sound,
Zapp,
Althea and Donna,
Sugar Minott,
Groovy Waters,
Jerry's Kids,
Barrington Levy,
Black Bananas,
Inner City,
New York Dolls,
Fort Wilson Riot,
Soft Machine,
Josef K,
Fat Boys,
The Busters,
Radio Birdman,
Marine Girls,
Accadde A,
The Durutti Column,
Main Source,
Sad Lovers and Giants,
Barclay James Harvest,
Bang on a Can All-Stars,
Yaz,
DeepChord presents Echospace,
Warsaw,
CMW,
Dave Gahan,
kango's stein massive,
A Flock of Seagulls,
Rod Modell,
the Association,
Pylon,
Sparks,
Bob Dylan,
Drexciya,
Dead Boys,
The Electric Prunes,
Unwound,
The Wake,
The Golliwogs,
Lucky Dragons,
Skriet,
Selector Dub Narcotic,
The Modern Lovers,
Faust,
The Last Poets,
The Saints,
Tom Boy,
Black Sheep,
Gerry Rafferty,
The United States of America,
The New Christs,
Cheater Slicks,
Lakeside,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.