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 Swaziland and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Milan.
I'm losing my edge to the art-school Philadelphia 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 Robert Palmer 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 Reuben Wilson to the dance kids.
I played it at the Spitz.
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 Jesus and Mary Chain. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The Dave Clark Five,
E-Dancer,
Al Stewart,
Malaria!,
The Wake,
Brand Nubian,
The Index,
The United States of America,
The Gun Club,
the Human League,
The J.B.'s,
Laurel Aitken,
Boredoms,
Desert Stars,
Excepter,
Black Pus,
Bang On A Can,
Silicon Teens,
The West Coast Pop Art Experimental Band,
Qualms,
X-102,
Sonic Youth,
Johnny Osbourne,
Stereo Dub,
Connie Case,
Scientists,
Cal Tjader,
The Searchers,
Agent Orange,
These Immortal Souls,
The Gap Band,
The Durutti Column,
Crispian St. Peters,
The Fire Engines,
Heaven 17,
Bush Tetras,
Index,
The Remains,
Fifty Foot Hose,
Bootsy Collins,
Gang Gang Dance,
Scratch Acid,
Sex Pistols,
Minor Threat,
The Kinks,
Graham Central Station,
Angels of Light & Akron/Family,
Soulsonic Force,
Simply Red,
Loose Ends,
Roy Ayers,
Circle Jerks,
Deepchord,
DJ Sneak,
Terry Callier,
Fatback Band,
Gichy Dan,
Dark Day,
Eyeless In Gaza,
R.M.O.,
The Moleskins,
The Evens,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.