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 Denmark and from Jakarta.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Bush Tetras to the rock kids.
I played it at the Astoria.
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 Standells. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Max Romeo 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Basic Channel,
Bronski Beat,
Laurel Aitken,
Q65,
JFA,
Buzzcocks,
Trumans Water,
Masters at Work,
Pete Rock & C.L. Smooth,
Funky Four + One,
Anthony Braxton,
Sugar Minott,
Big Daddy Kane,
Marshall Jefferson,
Rhythim Is Rhythim,
Easy Going,
The Fugs,
Drive Like Jehu,
John Holt,
48th St. Collective,
Kauko Röyhkä ja Narttu,
The Flesh Eaters,
Brass Construction,
Oblivians,
Bobby Byrd,
Lalann,
Bizarre Inc.,
The Leaves,
June of 44,
Fluxion,
The Names,
B.T. Express,
Ultramagnetic MC's,
The Invisible,
The Moleskins,
Das Ding,
Avey Tare & Kría Brekkan,
Alison Limerick,
Vaughan Mason & Crew,
Lower 48,
Ponytail,
Ronan,
Pylon,
Swans,
Guru Guru,
Peter & Gordon,
The Buckinghams,
Gil Scott-Heron & Brian Jackson,
Avey Tare,
Soul Sonic Force,
Joe Finger,
the Normal,
Don Cherry,
The Martian,
Cabaret Voltaire,
Smog,
Stockholm Monsters,
Ash Ra Tempel,
New York Dolls,
Mission of Burma,
Popol Vuh,
Surgeon, Surgeon, Surgeon, Surgeon.
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.