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 Vanuatu and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Hardrive to the techno kids.
I played it at the Troubador.
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 Cheater Slicks. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal jazz 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 a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Interpol,
Tomorrow,
Bauhaus,
Darondo,
The Red Krayola,
Gang of Four,
Robert Wyatt,
Avey Tare's Slasher Flicks,
The Blues Magoos,
Wasted Youth,
John Coltrane,
Dawn Penn,
David McCallum,
Roger Hodgson,
Sly & The Family Stone,
Q65,
Kenny Larkin,
Jacob Miller,
Boogie Down Productions,
Tres Demented,
John Lydon,
June Days,
The Mummies,
Severed Heads,
Kool Moe Dee,
Soulsonic Force,
Radio Birdman,
Blancmange,
Scrapy,
Little Man,
The Last Poets,
Trumans Water,
Livin' Joy,
Sugar Minott,
Gil Scott-Heron & Brian Jackson,
Althea and Donna,
The Pop Group,
The Dirtbombs,
Yellowson,
The J.B.'s,
Scion,
DJ Sneak,
The Monochrome Set,
Sparks,
The Martian,
Sight & Sound,
Avey Tare,
The Durutti Column,
Morten Harket,
Quantec,
Sun City Girls,
Boz Scaggs,
Don Cherry,
The Zeros,
Amon Düül,
Public Image Ltd.,
L. Decosne,
Terry Callier,
ABC,
Shuggie Otis,
The Toasters, The Toasters, The Toasters, The Toasters.
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.