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 Benin and from Beijing.
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 Toronto and Accra.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 The Misunderstood to the disco kids.
I played it at the Troubador.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
John Lydon,
Tim Buckley,
Kevin Saunderson,
Rites of Spring,
Strawberry Alarm Clock,
Lyres,
Tommy Roe,
The Residents,
Richard Hell and the Voidoids,
Neil Young & Crazy Horse,
Rufus Thomas,
Kas Product,
Grauzone,
Pantytec,
Fluxion,
Theoretical Girls,
Letta Mbulu,
Thee Headcoats,
Pulsallama,
Orchestral Manoeuvres in the Dark,
Eli Mardock,
Sixth Finger,
The Kinks,
the Sonics,
Television Personalities,
The Gap Band,
The Standells,
Siouxsie and the Banshees,
KRS-One,
Niagra,
Rowland S Howard / Lydia Lunch,
Urselle,
Skarface,
Matthew Halsall,
ABC,
The Techniques,
Joe Smooth,
Barry Ungar,
Moby Grape,
Rhythm & Sound,
Sexual Harrassment,
Moebius,
Tropical Tobacco,
Lizzy Mercier Descloux,
Radiohead,
The Dave Clark Five,
AZ,
The Busters,
Fela Kuti,
Jacques Brel,
the Slits,
Bobby Hutcherson,
The Litter,
Larry & the Blue Notes,
Liliput,
Graham Central Station,
L. Decosne,
The Angels of Light,
Scrapy,
Oblivians,
F. McDonald,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.