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 Estonia and from Toronto.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Accra and Glasgow.
I'm losing my edge to the art-school Salvador 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Mad Mike to the jazz 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 Leonard Cohen. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Tropical Tobacco,
Rotary Connection,
Fear,
Archie Shepp,
Neil Young,
K-Klass,
Teenage Jesus and the Jerks,
Skriet,
the Slits,
Barrington Levy,
Sun Ra,
New Age Steppers,
Lightning Bolt,
Agent Orange,
Kerrie Biddell,
cv313,
Agitation Free,
Japan,
Pierre Henry,
Kings Of Tomorrow,
Hot Snakes,
Flamin' Groovies,
Wally Richardson,
Brass Construction,
R.M.O.,
Unrelated Segments,
Cabaret Voltaire,
Boz Scaggs,
Avey Tare & Kría Brekkan,
Dawn Penn,
Matthew Halsall,
Talk Talk,
Niagra,
Half Japanese,
Pagans,
Mr. Review,
Girls At Our Best!,
The Fire Engines,
Mantronix,
The Saints,
Thee Headcoats,
Oneida,
Bizarre Inc.,
Louis and Bebe Barron,
the Swans,
Notorious BIG live in Amsterdam,
The Cowsills,
Colin Newman,
Visionaries,LMNO, T- Love & Iriscience,
Kool G Rap & DJ Polo,
Clear Light,
The Zeros,
Fatback Band,
Vladislav Delay,
ABBA,
Howard Jones,
Frankie Knuckles,
The Tremeloes,
Bobbi Humphrey,
It's A Beautiful Day,
Bad Manners,
The Trojans,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.