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 Rwanda and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Hashim to the electroclash kids.
I played it at the Crocodile.
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 Nas. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Supertramp,
Motorama,
kango's stein massive,
The Gap Band,
John Lydon,
Robert Hood,
Captain Beefheart & His Magic Band,
Eurythmics,
The Sisters of Mercy,
Quando Quango,
Kings Of Tomorrow,
The Doors,
Pulsallama,
The Cramps,
Oblivians,
Silicon Teens,
Delta 5,
Lou Reed,
Sun Ra,
Radiohead,
Electric Light Orchestra,
Lizzy Mercier Descloux,
Can,
Pete Rock & C.L. Smooth,
Jerry Gold Smith,
Funky Four + One,
Frankie Knuckles,
UT,
The Pop Group,
Shoche,
Brothers Johnson,
Livin' Joy,
Babytalk,
Barclay James Harvest,
Peter & Gordon,
Sandy B,
Bootsy's Rubber Band,
Jawbox,
Pere Ubu,
The Durutti Column,
Eyeless In Gaza,
Archie Shepp,
Black Moon,
the Normal,
The Electric Prunes,
Throbbing Gristle,
Mars,
Wire,
The Knickerbockers,
Soul Sonic Force,
Girls At Our Best!,
Be Bop Deluxe,
Joe Finger,
Accadde A,
Half Japanese,
Anthony Braxton,
The Dave Clark Five,
Sound Behaviour,
Kool G Rap & DJ Polo,
Ultimate Spinach,
The Gladiators,
James Chance & The Contortions,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.