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 Slovenia and from Spokane.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Lagos 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the guitar 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 Skaos 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 Victims. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Justin Hinds & The Dominoes,
Black Sheep,
Scratch Acid,
Lindisfarne,
The Leaves,
Echo & the Bunnymen,
It's A Beautiful Day,
Eric Copeland,
Fear,
Zapp,
Eric B and Rakim,
Eve St. Jones,
Skaos,
Amon Düül,
The Happenings,
Urselle,
T.S.O.L.,
The Shadows of Knight,
Wolf Eyes,
Kayak,
The Fall,
Agitation Free,
Moebius,
The Monochrome Set,
Terry Callier,
Juan Atkins,
Janne Schatter,
David Bowie,
Ice-T,
Bush Tetras,
Nik Kershaw,
Goldenarms,
Boogie Down Productions,
Traffic Nightmare,
Jandek,
Ultra Naté,
Pantytec,
The Flesh Eaters,
Dawn Penn,
Q65,
the Normal,
The Barracudas,
Boz Scaggs,
The Index,
Reagan Youth,
Shuggie Otis,
Liaisons Dangereuses,
Sparks,
Flipper,
Michelle Simonal,
Unwound,
48th St. Collective,
Todd Rundgren,
Ralphi Rosario,
Procol Harum,
Archie Shepp,
Nation of Ulysses,
The Vogues,
Henry Cow,
Soft Machine,
Warren Ellis,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.