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 Bangladesh and from Winnipeg.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
I'm losing my edge to the art-school Shanghai 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 linndrum 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 Roy Ayers Ubiquity to the grunge kids.
I played it at the Troubador.
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 Grey Daturas. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal grime 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Scan 7,
X-102,
Toni Rubio,
Siglo XX,
Joe Smooth,
Joey Negro,
Simply Red,
Swell Maps,
The Index,
The Mojo Men,
Franke,
Dawn Penn,
Oppenheimer Analysis,
Harry Pussy,
Soulsonic Force,
Sound Behaviour,
Severed Heads,
Aaron Thompson,
Crispy Ambulance,
FM Einheit,
Lalann,
Orchestral Manoeuvres in the Dark,
The Dead C,
Intrusion,
June Days,
The Cramps,
Groovy Waters,
The J.B.'s,
Con Funk Shun,
The Sisters of Mercy,
KRS-One,
T. Rex,
The Dave Clark Five,
The Young Rascals,
Aswad,
Country Teasers,
the Normal,
Red Lorry Yellow Lorry,
Japan,
Archie Shepp,
Rhythm & Sound,
Beasts of Bourbon,
Don Cherry,
Bauhaus,
Lower 48,
Kevin Saunderson,
Soul II Soul,
The Five Americans,
Rotary Connection,
Major Organ And The Adding Machine,
Aural Exciters,
Bizarre Inc.,
This Heat,
the Germs,
Sarah Menescal,
The Chocolate Watch Band,
Patti Smith,
Marmalade,
10cc,
The Detroit Cobras,
Ponytail,
Joyce Sims,
The Beau Brummels,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.