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 Czech Republic 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 1965 to 1970.
I'm losing my edge.
To all the kids in Houston and Woodstock.
I'm losing my edge to the art-school Salvador 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 Fatback Band to the electroclash 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Crash Course in Science,
Kurtis Blow,
New Order,
Camberwell Now,
The J.B.'s,
Sex Pistols,
Quando Quango,
Rahsaan Roland Kirk,
A Flock of Seagulls,
Kerrie Biddell,
Chrome,
The Monks,
The Victims,
Grauzone,
Avey Tare,
Jeff Lynne,
Eric B and Rakim,
Groovy Waters,
Sound Behaviour,
Banda Bassotti,
Kas Product,
Hardrive,
Peter and Kerry,
Marvin Gaye,
Eric Copeland,
Adolescents,
Pussy Galore,
Supertramp,
Icehouse,
Captain Beefheart & His Magic Band,
Donny Hathaway,
Joe Finger,
Amazonics,
Moby Grape,
Gichy Dan,
The Smoke,
Fatback Band,
Rhythm & Sound,
Model 500,
Ralphi Rosario,
Sunsets and Hearts,
Kenny Larkin,
Nick Fraelich,
The Human League,
Charles Mingus,
Yellowson,
Parry Music,
Orchestral Manoeuvres in the Dark,
Robert Görl,
PIL,
Dennis Brown,
The Knickerbockers,
The Flesh Eaters,
Gabor Szabo,
Tom Boy,
Byron Stingily,
Ten City,
Red Lorry Yellow Lorry,
Rufus Thomas,
Tim Buckley,
Minor Threat,
Maleditus Sound,
The Standells, The Standells, The Standells, The Standells.
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.