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 Ethiopia and from Johannesburg.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Spokane 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Captain Beefheart & His Magic Band to the dance 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 The New Christs. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Ultimate Spinach,
Lee Hazlewood,
Rhythm & Sound,
Sarah Menescal,
The Cowsills,
Bobbi Humphrey,
Deakin,
Tears for Fears,
Anthony Braxton,
Pere Ubu,
The Last Poets,
Thinking Fellers Union Local 282,
Roger Hodgson,
Fifty Foot Hose,
Deutsch Amerikanische Freundschaft,
Visionaries,LMNO, T- Love & Iriscience,
Quando Quango,
Motorama,
The Seeds,
Tres Demented,
Roxy Music,
Soft Cell,
Severed Heads,
Maleditus Sound,
Black Flag,
Inner City,
Sonic Youth,
Henry Cow,
Carl Craig,
Slick Rick,
Gian Franco Pienzio,
Japan,
Glambeats Corp.,
The Blackbyrds,
Mo-Dettes,
OOIOO,
The Standells,
The Wake,
Monks,
Icehouse,
the Swans,
Cameo,
Marcia Griffiths,
Wire,
Loose Ends,
Sound Behaviour,
Ajijia Myrayebe,
Funkadelic,
Janne Schatter,
Amon Düül,
Swell Maps,
Ken Boothe,
Drexciya,
Public Image Ltd.,
The Index,
Harry Pussy,
Sparks,
The Remains,
Bronski Beat,
Gil Scott-Heron and Jamie xx,
Erasure,
Royal Trux,
Jimmy McGriff,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.