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 Malaysia and from Madrid.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Bologna and Delhi.
I'm losing my edge to the art-school Portland 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 Buzzcocks practice in a loft in Bolton.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Stetsasonic to the rock kids.
I played it at the 40 Watt.
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 FM Einheit. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Leonard Cohen,
Sister Nancy,
U.S. Maple,
Jesper Dahlback,
The West Coast Pop Art Experimental Band,
Y Pants,
Sparks,
Cluster,
The Index,
Stetsasonic,
The Happenings,
Adolescents,
Spandau Ballet,
Hardrive,
Con Funk Shun,
Wire,
MC5,
the Fania All-Stars,
Brass Construction,
Fugazi,
The Martian,
Bill Near,
Peter & Gordon,
Eve St. Jones,
Kool Moe Dee,
Rahsaan Roland Kirk,
Electric Prunes,
Dorothy Ashby,
Lalann,
Andrew Ashong & Theo Parrish,
Nik Kershaw,
Man Parrish,
The Litter,
Isaac Hayes,
The Music Machine,
Altered Images,
Loose Ends,
Liliput,
Matthew Halsall,
Hot Snakes,
Avey Tare's Slasher Flicks,
Marshall Jefferson,
Donald Byrd,
Inner City,
Mission of Burma,
The Invisible,
Scratch Acid,
Public Enemy,
Ultra Naté,
Fear,
Boz Scaggs,
Trumans Water,
Sly & The Family Stone,
Amazonics,
Ohio Players,
London Community Gospel Choir,
Vaughan Mason & Crew,
Todd Rundgren,
The Gap Band,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.