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 Kosovo and from Mexico City.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Seoul 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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Goldenarms to the funk kids.
I played it at Cafe Wha.
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 Smog. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Index,
The Slackers,
Jerry Gold Smith,
Spoonie Gee,
Dual Sessions,
The Cowsills,
Liliput,
Y Pants,
Girls At Our Best!,
The Shadows of Knight,
David McCallum,
The Music Machine,
Soft Machine,
The Gun Club,
the Sonics,
Mandrill,
Idris Muhammad,
Desert Stars,
Popol Vuh,
Guru Guru,
Joe Finger,
Half Japanese,
Lalo Schifrin,
Interpol,
Chrome,
Beasts of Bourbon,
Dark Day,
Liaisons Dangereuses,
The Fire Engines,
Brass Construction,
OOIOO,
Negative Approach,
Lou Reed & John Cale,
Bob Dylan,
Marvin Gaye,
PIL,
The United States of America,
The Skatalites,
The Alarm Clocks,
One Last Wish,
Rapeman,
U.S. Maple,
Mary Jane Girls,
The Misunderstood,
Massinfluence,
Bauhaus,
Inner City,
Amazonics,
Adolescents,
Fort Wilson Riot,
Vaughan Mason & Crew,
Hardrive,
The Sisters of Mercy,
Fad Gadget,
Spandau Ballet,
Subhumans,
Steve Hackett,
the Association,
Man Eating Sloth,
Electric Light Orchestra,
The Trojans,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.