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 Slovenia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 Calgary and Tokyo.
I'm losing my edge to the art-school Mumbai 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Ultravox to the disco kids.
I played it at Trash.
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 Brick. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Section 25 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Trojans record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Dead Boys,
Lonnie Liston Smith,
Dr. Dre and Snoop Doggy Dog,
Liaisons Dangereuses,
Kas Product,
Strawberry Alarm Clock,
Crooked Eye,
The Fuzztones,
Clear Light,
10cc,
Stiv Bators,
Kerrie Biddell,
Jimmy McGriff,
Hot Snakes,
June of 44,
Tomorrow,
Big Daddy Kane,
Vainqueur,
Jandek,
The Leaves,
Visage,
Bobby Byrd,
Frankie Knuckles,
Bootsy's Rubber Band,
Dual Sessions,
Sunsets and Hearts,
Index,
Skaos,
Kings Of Tomorrow,
E-Dancer,
The Fire Engines,
Drexciya,
Wally Richardson,
The Chocolate Watch Band,
Visionaries,LMNO, T- Love & Iriscience,
R.M.O.,
MC5,
Sarah Menescal,
Graham Central Station,
Bang on a Can All-Stars,
Eli Mardock,
Lyres,
Anakelly,
The Peanut Butter Conspiracy,
Parry Music,
Lee Hazlewood,
a-ha,
The Searchers,
The Divine Comedy,
Lindisfarne,
Sun Ra Arkestra,
James Chance & The Contortions,
Bronski Beat,
Deadbeat,
OOIOO,
Delon & Dalcan,
The Neon Judgement,
Ludus,
Pere Ubu,
Tom Boy,
The Shadows of Knight,
Captain Beefheart & His Magic Band,
Yaz,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.