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 Belize and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school Glasgow 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 Can practice in a loft in Cologne.
I was working on the clarinet 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 Barry Ungar to the jazz kids.
I played it at the Hacienda.
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 Section 25. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Eurythmics 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Lizzy Mercier Descloux,
Visage,
Neil Young & Crazy Horse,
David McCallum,
Deadbeat,
Siouxsie and the Banshees,
The Slits,
Soft Machine,
Nas,
Nils Olav,
Lyres,
Juan Atkins,
Delta 5,
Sonny Sharrock,
Aural Exciters,
Eden Ahbez,
Scientists,
Judy Mowatt,
Minutemen,
Gerry Rafferty,
B.T. Express,
Morten Harket,
Wolf Eyes,
Vaughan Mason & Crew,
Erasure,
The Royal Family And The Poor,
The Cramps,
Blossom Toes,
Cecil Taylor,
Cymande,
Sarah Menescal,
Man Parrish,
Gil Scott-Heron and Jamie xx,
Symarip,
The Fugs,
Warsaw,
It's A Beautiful Day,
Camouflage,
Kaleidoscope,
Lee Hazlewood,
A Flock of Seagulls,
MDC,
Peter & Gordon,
Rahsaan Roland Kirk,
The Busters,
Anthony Braxton,
Supertramp,
Camron Feat. Memphis Bleek And Beenie Seigel,
Accadde A,
Suburban Knight,
Dual Sessions,
Parry Music,
Soulsonic Force,
The Toasters,
Rekid,
Hoover,
Y Pants,
Pussy Galore,
Ultravox,
the Slits,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.