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 Nigeria and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1972.
I'm losing my edge.
To all the kids in Lyon and Seoul.
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 arpeggiator 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 Loose Ends to the punk kids.
I played it at the Roxy.
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 Jesper Dahlbäck. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Flipper,
The Misunderstood,
The Modern Lovers,
Howard Jones,
Andrew Hill,
Fear,
Eden Ahbez,
Fad Gadget,
Suicide,
Niagra,
Fat Boys,
Rekid,
La Düsseldorf,
Davy DMX,
Cabaret Voltaire,
Kerrie Biddell,
Brick,
Janne Schatter,
Massinfluence,
Sonny Sharrock,
Pylon,
Fugazi,
Pole,
Jacob Miller,
Oneida,
Whodini,
Minnie Riperton,
Brass Construction,
The Sonics,
Pantytec,
James Chance & The Contortions,
Basic Channel,
Throbbing Gristle,
Hoover,
Tim Buckley,
Big Daddy Kane,
DJ Sneak,
The Sisters of Mercy,
The West Coast Pop Art Experimental Band,
Guru Guru,
Hardrive,
Curtis Mayfield,
Nas,
Sister Nancy,
The Neon Judgement,
Swans,
Rotary Connection,
Harry Pussy,
Bang On A Can,
David Bowie,
Clear Light,
Television Personalities,
Sonic Youth,
In Retrospect,
Jimmy McGriff,
The Detroit Cobras,
Eve St. Jones,
Barry Ungar,
Brand Nubian,
Average White Band,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.