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 Ivory Coast and from Salvador.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Sao Paulo 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 Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 The Star Department to the punk 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 Morten Harket. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Subhumans 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Stereo Dub,
Fifty Foot Hose,
Porter Ricks,
DJ Style,
The Birthday Party,
The Victims,
World's Most,
Accadde A,
Surgeon,
Amazonics,
Excepter,
Louis and Bebe Barron,
Jeru the Damaja,
Soul Sonic Force,
Lizzy Mercier Descloux,
Junior Murvin,
Agitation Free,
The Pop Group,
Yaz,
Jawbox,
Electric Prunes,
Bizarre Inc.,
Larry & the Blue Notes,
The Sisters of Mercy,
Wighnomy Brothers & Robag Wruhme,
New Order,
John Lydon,
Steve Hackett,
Moss Icon,
Angry Samoans,
Bauhaus,
Howard Jones,
Eurythmics,
June of 44,
Boogie Down Productions,
Gabor Szabo,
Flipper,
Basic Channel,
Babytalk,
Avey Tare's Slasher Flicks,
Kings Of Tomorrow,
Hardrive,
Marmalade,
Y Pants,
The Chocolate Watch Band,
Cybotron,
Carl Craig,
Camberwell Now,
Idris Muhammad,
Glambeats Corp.,
Ice-T,
Scott Walker,
Dead Boys,
Beasts of Bourbon,
The Fortunes,
The New Christs,
Oblivians,
The Motions,
The Monks,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.