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 East Timor and from Copenhagen.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Evens to the techno 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 The Dirtbombs. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every the Normal 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Brass Construction,
Suburban Knight,
London Community Gospel Choir,
Anakelly,
Lyres,
Rufus Thomas,
Oppenheimer Analysis,
Heaven 17,
Minny Pops,
Wire,
Oblivians,
Avey Tare's Slasher Flicks,
Barclay James Harvest,
Carl Craig,
Gong,
Byron Stingily,
Aural Exciters,
Los Fastidios,
Intrusion,
Sällskapet,
Ossler,
The Dave Clark Five,
Clear Light,
Newcleus,
Graham Central Station,
Johnny Clarke,
Sandy B,
Arthur Verocai,
the Association,
The Music Machine,
Kerri Chandler,
Sonny Sharrock,
Sexual Harrassment,
Aloha Tigers,
Glenn Branca,
B.T. Express,
the Swans,
Groovy Waters,
Fat Boys,
Althea and Donna,
The New Christs,
Freddie Wadling,
The Smoke,
The Invisible,
Bob Dylan,
Gian Franco Pienzio,
Joyce Sims,
The Star Department,
John Coltrane,
The Real Kids,
Cluster,
Technova,
Patti Smith,
The Remains,
The Trojans,
Camron Feat. Jay Z And Juelz,
Wally Richardson,
Kayak,
Faust,
Kings Of Tomorrow,
Oneida,
Chris Corsano,
The Stooges, The Stooges, The Stooges, The Stooges.
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.