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 Yemen and from Lyon.
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 1960 to 1979.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 Accadde A 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 Tommy Roe. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal rock 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
The Gun Club,
Nation of Ulysses,
Terrestrial Tones,
Hashim,
Cabaret Voltaire,
The Tremeloes,
The Real Kids,
Eddi Front,
Althea and Donna,
Sound Behaviour,
X-102,
The Black Dice,
The Searchers,
Half Japanese,
Icehouse,
Lyres,
Piero Umiliani,
Wighnomy Brothers & Robag Wruhme,
Eve St. Jones,
Echo & the Bunnymen,
The Trojans,
Public Enemy,
Pantytec,
Swans,
Roy Ayers Ubiquity,
Roxette,
Fad Gadget,
Von Mondo,
Leonard Cohen,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Pop Group,
Unrelated Segments,
The United States of America,
Tropical Tobacco,
Vladislav Delay,
Scan 7,
The Chocolate Watch Band,
Lebanon Hanover,
The Busters,
DNA,
Young Marble Giants,
Patti Smith,
Jeru the Damaja,
The Young Rascals,
Spoonie Gee,
Siglo XX,
Eurythmics,
D'Angelo,
The Evens,
The Associates,
Dual Sessions,
Red Lorry Yellow Lorry,
Technova,
Sad Lovers and Giants,
Albert Ayler,
The Cosmic Jokers,
Bobbi Humphrey,
Gil Scott-Heron and Jamie xx,
Newcleus,
Bobby Sherman,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.