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 Uruguay and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Manila and Hong Kong.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Real Kids to the rap 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 The Velvet Underground. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Fatback Band,
DJ Sneak,
Louis and Bebe Barron,
The Dirtbombs,
Be Bop Deluxe,
The Move,
Pylon,
Lyres,
The Slits,
Aswad,
Black Sheep,
Stiv Bators,
The Residents,
Deepchord,
Subhumans,
Howard Jones,
the Bar-Kays,
Alphaville,
L. Decosne,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ohio Players,
Stockholm Monsters,
Youth Brigade,
Rhythm & Sound,
KRS-One,
The Electric Prunes,
Selector Dub Narcotic,
Lungfish,
Fela Kuti,
Moebius,
The Barracudas,
Robert Hood,
Lebanon Hanover,
Mad Mike,
Dark Day,
Sarah Menescal,
The Monochrome Set,
Kings Of Tomorrow,
Iggy Pop,
Ultramagnetic MC's,
Sister Nancy,
Mo-Dettes,
Kayak,
the Soft Cell,
Adolescents,
Spoonie Gee,
Bauhaus,
Alice Coltrane,
JFA,
Cybotron,
Television Personalities,
Vainqueur,
Hot Snakes,
Smog,
Brick,
Scan 7,
John Foxx,
The Jesus and Mary Chain,
Hardrive,
Parry Music,
Mars,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.