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 Comoros and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Calgary 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 Holger Czukay 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 Chocolate Watch Band to the rap kids.
I played it at the Hacienda.
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 Wake. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
The Neon Judgement,
Anthony Braxton,
Country Teasers,
The Walker Brothers,
Boogie Down Productions,
Eric Copeland,
Eve St. Jones,
Boz Scaggs,
The Grass Roots,
Mission of Burma,
Negative Approach,
John Cale,
Don Cherry,
Arab on Radar,
The Fortunes,
Glenn Branca,
Peter Gordon & Love of Life Orchestra,
Idris Muhammad,
June Days,
Parry Music,
Monks,
The New Christs,
Das Ding,
Howard Jones,
48th St. Collective,
Y Pants,
Thee Headcoats,
Cal Tjader,
Max Romeo,
Al Stewart,
Audionom,
Johnny Clarke,
Niagra,
The Toasters,
Siglo XX,
Hasil Adkins,
Talk Talk,
The Dave Clark Five,
Sight & Sound,
Kauko Röyhkä ja Narttu,
Lower 48,
Big Daddy Kane,
The Chocolate Watch Band,
The Blackbyrds,
Jacques Brel,
Groovy Waters,
The Modern Lovers,
the Human League,
Soul Sonic Force,
The West Coast Pop Art Experimental Band,
Cymande,
Aaron Thompson,
La Düsseldorf,
The Techniques,
DJ Sneak,
The Peanut Butter Conspiracy,
Camberwell Now,
Throbbing Gristle,
Erasure, Erasure, Erasure, Erasure.
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.