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 Bhutan and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Portland 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 808 sounds with much patience.
I was there when Lou Reed 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 Dirtbombs to the funk kids.
I played it at CBGB's.
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 Tomorrow. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Kaleidoscope 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 '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Sound Behaviour,
Colin Newman,
The Cure,
ABBA,
Scan 7,
The Fugs,
Lafayette Afro Rock Band,
Electric Prunes,
Agitation Free,
Johnny Osbourne,
Underground Resistance,
The Dead C,
Duran Duran,
Todd Rundgren,
Howard Jones,
Tim Buckley,
Hardrive,
Rowland S Howard / Lydia Lunch,
New Order,
Loose Ends,
Lungfish,
Massinfluence,
Sunsets and Hearts,
Moss Icon,
Porter Ricks,
The Royal Family And The Poor,
The Gun Club,
Bang on a Can All-Stars,
the Soft Cell,
The Real Kids,
Rufus Thomas,
Byron Stingily,
Josef K,
Essential Logic,
Sight & Sound,
The Buckinghams,
Black Moon,
Wolf Eyes,
Ultra Naté,
Eden Ahbez,
Grandmaster Flash and the Furious Five,
Reuben Wilson,
The Seeds,
Matthew Bourne,
The Knickerbockers,
Marvin Gaye,
Yusef Lateef,
Electric Light Orchestra,
Bad Manners,
Gabor Szabo,
Sexual Harrassment,
UT,
Interpol,
Notorious BIG live in Amsterdam,
The Monochrome Set,
Lou Reed & Metallica,
Sarah Menescal,
Simply Red,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.