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 Honduras and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 F. McDonald to the dance kids.
I played it at the Astoria.
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 The Sonics. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Deadbeat,
Fear,
Visionaries,LMNO, T- Love & Iriscience,
Moby Grape,
Joe Finger,
Lindisfarne,
Scrapy,
Warsaw,
Pylon,
The Victims,
Rekid,
Deakin,
Howard Jones,
H. Thieme,
Aural Exciters,
Lyres,
Girls At Our Best!,
Fugazi,
Glenn Branca,
LL Cool J,
DJ Style,
cv313,
The Martian,
Lou Reed & Metallica,
Justin Hinds & The Dominoes,
Major Organ And The Adding Machine,
Black Pus,
Byron Stingily,
Lou Reed & John Cale,
Jacques Brel,
Ronnie Foster,
This Heat,
Harpers Bizarre,
The Vogues,
John Lydon,
Kurtis Blow,
Kool G Rap & DJ Polo,
The Young Rascals,
Soft Cell,
The Mojo Men,
June of 44,
Suicide,
Rufus Thomas,
Soft Machine,
The Fortunes,
Flash Fearless,
Bobby Sherman,
Kevin Saunderson,
The Zeros,
Andrew Hill,
Carl Craig,
Soulsonic Force,
Grauzone,
Sight & Sound,
Ronan,
The Remains,
Orchestral Manoeuvres in the Dark,
These Immortal Souls,
Al Stewart,
Alison Limerick,
Sonic Youth,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.