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 Albania and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Roy Ayers Ubiquity 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 Shuggie Otis. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Motorama,
The Cosmic Jokers,
Interpol,
Inner City,
Mark Hollis,
Second Layer,
Wally Richardson,
Magma,
Barry Ungar,
Robert Görl,
Procol Harum,
Fugazi,
Anakelly,
MC5,
8 Eyed Spy,
Sexual Harrassment,
Graham Central Station,
Cecil Taylor,
The Shadows of Knight,
Steve Hackett,
Boogie Down Productions,
Peter and Kerry,
Icehouse,
Bobby Byrd,
Lindisfarne,
The Red Krayola,
Pere Ubu,
Sonny Sharrock,
F. McDonald,
Dr. Dre and Snoop Doggy Dog,
Buzzcocks,
Black Pus,
Minnie Riperton,
R.M.O.,
Boz Scaggs,
Can,
The Litter,
Arab on Radar,
Ponytail,
Index,
Deadbeat,
A Flock of Seagulls,
The Walker Brothers,
Mantronix,
The Dead C,
The Motions,
Loose Ends,
Fluxion,
The Five Americans,
Siouxsie and the Banshees,
Nils Olav,
Cal Tjader,
Ludus,
Accadde A,
Scrapy,
Minor Threat,
June of 44,
ABBA,
This Heat,
Reuben Wilson,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.