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 Lithuania and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Glasgow 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 La Düsseldorf to the electroclash 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 B.T. Express. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Unwound 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Suburban Knight,
Grauzone,
Adolescents,
Rowland S Howard / Lydia Lunch,
Magazine,
Sunsets and Hearts,
Neil Young & Crazy Horse,
Brand Nubian,
Bootsy's Rubber Band,
The Techniques,
Monks,
The Peanut Butter Conspiracy,
Sonic Youth,
Hoover,
Stereo Dub,
The Monks,
Theoretical Girls,
Ice-T,
Blossom Toes,
Roxy Music,
the Bar-Kays,
The Gap Band,
Scion,
Bobbi Humphrey,
The Cramps,
L. Decosne,
The Gories,
Young Marble Giants,
The Selecter,
Minutemen,
Scott Walker,
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Half Japanese,
The Motions,
Hashim,
World's Most,
The Toasters,
Depeche Mode,
The Associates,
Tommy Roe,
Glambeats Corp.,
The Wake,
Thompson Twins,
The Smiths,
R.M.O.,
Popol Vuh,
Flash Fearless,
Boz Scaggs,
Bobby Womack,
The Beau Brummels,
Wasted Youth,
The Tremeloes,
Gil Scott Heron,
Richard Hell and the Voidoids,
Boogie Down Productions,
Pete Rock & C.L. Smooth,
Nation of Ulysses,
Whodini,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.