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 Oman and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Robert Palmer 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 New York Dolls to the electroclash 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 Hoover. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every The Birthday Party 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Symarip,
Dual Sessions,
Sixth Finger,
Country Joe & The Fish,
Alton Ellis,
MC5,
June Days,
Terrestrial Tones,
Unwound,
Grandmaster Flash and the Furious Five,
Dennis Brown,
the Swans,
Ohio Players,
Mandrill,
Matthew Halsall,
Arcadia,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ken Boothe,
Pete Rock & C.L. Smooth,
Peter Gordon & Love of Life Orchestra,
Buzzcocks,
Sight & Sound,
Gang Starr,
the Human League,
Crime,
David Axelrod,
Minnie Riperton,
Colin Newman,
Wally Richardson,
Crash Course in Science,
Teenage Jesus and the Jerks,
The Blackbyrds,
Gabor Szabo,
Scan 7,
Tom Boy,
Be Bop Deluxe,
Rakim,
Rahsaan Roland Kirk,
Spandau Ballet,
Cameo,
Quadrant,
Boogie Down Productions,
Derrick Morgan,
Outsiders,
The Victims,
Brothers Johnson,
Lizzy Mercier Descloux,
The Moody Blues,
La Düsseldorf,
Andrew Hill,
The Buckinghams,
Captain Beefheart & His Magic Band,
Newcleus,
Scratch Acid,
Groovy Waters,
Bobby Hutcherson,
The Smiths,
Sound Behaviour,
Big Daddy Kane,
Sam Rivers,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.