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 Congo and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Moss Icon to the dance kids.
I played it at the Roxy.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
The Move,
Dual Sessions,
Lyres,
Scion,
Radiopuhelimet,
Lalo Schifrin,
Cybotron,
Wighnomy Brothers & Robag Wruhme,
The Pretty Things,
The Human League,
Can,
Andrew Hill,
Bluetip,
Max Romeo,
The Standells,
Soft Cell,
Alison Limerick,
The Monochrome Set,
Yazoo,
Easy Going,
Don Cherry,
Girls At Our Best!,
Khruangbin,
James White and The Blacks,
Arab on Radar,
Flash Fearless,
Procol Harum,
Lou Christie,
Sister Nancy,
The Doors,
Darondo,
Los Fastidios,
Jeff Lynne,
Danielle Patucci,
Sight & Sound,
June Days,
Dawn Penn,
Spoonie Gee,
Big Daddy Kane,
Porter Ricks,
The Fortunes,
Pussy Galore,
The Peanut Butter Conspiracy,
EPMD,
Jesper Dahlback,
The Blues Magoos,
Tubeway Army,
Stiv Bators,
Aswad,
Interpol,
DNA,
Severed Heads,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
X-Ray Spex,
Lizzy Mercier Descloux,
Avey Tare,
The Toasters,
48th St. Collective,
the Normal,
Richard Hell and the Voidoids,
The Fall, The Fall, The Fall, The Fall.
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.