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 Burundi and from New York.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1972.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Lee Hazlewood to the punk kids.
I played it at the Troubador.
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 Average White Band. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Arcadia,
Crash Course in Science,
Bush Tetras,
Anthony Braxton,
Youth Brigade,
Hoover,
Parry Music,
Camron Feat. Memphis Bleek And Beenie Seigel,
Maleditus Sound,
Suicide,
Marine Girls,
Harmonia,
Second Layer,
Camberwell Now,
Groovy Waters,
X-102,
Nas,
the Fania All-Stars,
Joe Finger,
Sad Lovers and Giants,
Darondo,
Porter Ricks,
James White and The Blacks,
Japan,
The United States of America,
The Angels of Light,
Radiopuhelimet,
Drexciya,
Fugazi,
Sam Rivers,
Lou Christie,
Banda Bassotti,
Electric Light Orchestra,
Bluetip,
Simply Red,
Quando Quango,
Eden Ahbez,
Roxy Music,
Ronnie Foster,
De La Soul & Jungle Brothers,
Teenage Jesus and the Jerks,
Grandmaster Flash and the Furious Five,
Warren Ellis,
Bauhaus,
The Human League,
Lou Reed & John Cale,
Alison Limerick,
Aloha Tigers,
The Misunderstood,
The Music Machine,
Major Organ And The Adding Machine,
Althea and Donna,
Joe Smooth,
X-Ray Spex,
Popol Vuh,
Cybotron,
Josef K,
Echospace,
Sarah Menescal,
Vainqueur,
Blossom Toes,
Brick,
The Doors, The Doors, The Doors, The Doors.
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.