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 Lebanon and from Lagos.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Houston 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 mellotron sounds with much patience.
I was there when David Bowie 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 La Düsseldorf to the punk kids.
I played it at the 40 Watt.
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 Mary Jane Girls. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
The West Coast Pop Art Experimental Band,
Gregory Isaacs,
The New Christs,
Sunsets and Hearts,
Banda Bassotti,
Skaos,
The Wake,
Joyce Sims,
Warren Ellis,
Blossom Toes,
Q and Not U,
Essential Logic,
The Sisters of Mercy,
Terry Callier,
Excepter,
Radio Birdman,
Bobby Sherman,
Yellowson,
Marc Romboy vs. Booka Shade,
Harpers Bizarre,
The Mojo Men,
Stereo Dub,
Echospace,
Ituana,
The Sonics,
James White and The Blacks,
Eurythmics,
Lower 48,
Eli Mardock,
Idris Muhammad,
Henry Cow,
The Gories,
Robert Hood,
Danielle Patucci,
8 Eyed Spy,
The Fire Engines,
Young Marble Giants,
Fifty Foot Hose,
The Durutti Column,
Sixth Finger,
Mo-Dettes,
Spoonie Gee,
Main Source,
Teenage Jesus and the Jerks,
Pantaleimon,
John Holt,
Glambeats Corp.,
Gang Green,
Janne Schatter,
Johnny Clarke,
Jacques Brel,
Wally Richardson,
Brick,
The Move,
The Royal Family And The Poor,
London Community Gospel Choir,
Nils Olav,
Grey Daturas,
The Happenings,
Pagans,
Moebius,
Thinking Fellers Union Local 282,
Malaria!, Malaria!, Malaria!, Malaria!.
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.