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 New Zealand and from Bologna.
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 Seoul and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 Minor Threat to the dance 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 Mantronix. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
The Blues Magoos,
Magazine,
Mo-Dettes,
The Velvet Underground,
Peter & Gordon,
Angry Samoans,
Mandrill,
Richard Hell and the Voidoids,
Marshall Jefferson,
Rites of Spring,
Ultra Naté,
Maleditus Sound,
Mission of Burma,
Neil Young & Crazy Horse,
This Heat,
Lonnie Liston Smith,
Pet Shop Boys,
Arthur Verocai,
Gichy Dan,
Crispian St. Peters,
Sexual Harrassment,
Bluetip,
Black Sheep,
Faust,
Josef K,
Eli Mardock,
Judy Mowatt,
The Pop Group,
the Sonics,
Bronski Beat,
Joey Negro,
Half Japanese,
Masters at Work,
Scion,
Parry Music,
Al Stewart,
Donald Byrd,
Suicide,
Black Moon,
Sad Lovers and Giants,
Boogie Down Productions,
Mad Mike,
F. McDonald,
The Gladiators,
The Skatalites,
Eve St. Jones,
The Alarm Clocks,
Eric B and Rakim,
the Soft Cell,
Dark Day,
Ponytail,
De La Soul & Jungle Brothers,
Rotary Connection,
The Dave Clark Five,
Fad Gadget,
Gang Starr,
The Black Dice,
Don Cherry,
Simply Red,
Essential Logic,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.