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 Papua New Guinea and from Mexico City.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Columbus 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Excepter to the rock kids.
I played it at the Crocodile.
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 Masters at Work. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every The Saints record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Tim Buckley,
Jesper Dahlbäck,
Young Marble Giants,
Steve Hackett,
Andrew Hill,
Andrew Ashong & Theo Parrish,
Gregory Isaacs,
The Grass Roots,
Harpers Bizarre,
Alton Ellis,
Vaughan Mason & Crew,
Jesper Dahlback,
Bluetip,
Max Romeo,
Drive Like Jehu,
Minor Threat,
Rotary Connection,
Dual Sessions,
Barbara Tucker,
Urselle,
Arcadia,
The Real Kids,
The Flesh Eaters,
Ajijia Myrayebe,
The Slits,
Index,
Lalann,
Jacob Miller,
Circle Jerks,
Talk Talk,
Connie Case,
Crime,
Inner City,
The Cowsills,
The Gap Band,
Ultramagnetic MC's,
Bootsy Collins,
Peter & Gordon,
LL Cool J,
Bizarre Inc.,
Pantytec,
Black Sheep,
The Index,
Agent Orange,
CMW,
Prince Buster,
Kango’s Stein Massive,
Zapp,
DJ Sneak,
Pagans,
The Beau Brummels,
Marc Romboy vs. Booka Shade,
The Fugs,
The Pop Group,
Adolescents,
Peter Gordon & Love of Life Orchestra,
Dawn Penn,
Archie Shepp,
Big Daddy Kane,
Man Parrish,
Icehouse,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.