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 Liberia and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Lyon 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 güiro 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 Slave to the disco 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 Bootsy Collins. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Interpol,
Lebanon Hanover,
Spandau Ballet,
Laurel Aitken,
Wighnomy Brothers & Robag Wruhme,
EPMD,
Janne Schatter,
The Sound,
Althea and Donna,
Drexciya,
Dead Boys,
Sexual Harrassment,
Slave,
KRS-One,
The Vogues,
Reuben Wilson,
Clear Light,
Agitation Free,
Ituana,
Second Layer,
Justin Hinds & The Dominoes,
Nils Olav,
John Holt,
Silicon Teens,
The Durutti Column,
Deakin,
Whodini,
Pharoah Sanders,
The Divine Comedy,
Subhumans,
U.S. Maple,
Talk Talk,
The Kinks,
The Jesus and Mary Chain,
Chrome,
Brick,
Thompson Twins,
Selector Dub Narcotic,
Bang On A Can,
The Move,
New York Dolls,
Louis and Bebe Barron,
Cabaret Voltaire,
Peter Gordon & Love of Life Orchestra,
The Royal Family And The Poor,
Jeff Mills,
Sex Pistols,
Patti Smith,
Ultimate Spinach,
Sad Lovers and Giants,
Supertramp,
De La Soul & Jungle Brothers,
Gabor Szabo,
Icehouse,
Terry Callier,
The Dave Clark Five,
Quando Quango,
Derrick May,
The Buckinghams,
Malaria!,
Lee Hazlewood,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.