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 Hungary and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Woodstock 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 Nile Rodgers 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 Walker Brothers to the jazz kids.
I played it at the Astoria.
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 Black Bananas. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Johnny Clarke,
The Gun Club,
cv313,
Loose Ends,
Anthony Braxton,
Drexciya,
Neu!,
The United States of America,
The Men They Couldn't Hang,
Sister Nancy,
Dual Sessions,
Traffic Nightmare,
The Young Rascals,
Neil Young,
Harmonia,
Boogie Down Productions,
Terry Callier,
Das Ding,
The Monochrome Set,
Niagra,
Big Daddy Kane,
Royal Trux,
Mark Hollis,
Pere Ubu,
June of 44,
Sam Rivers,
Mission of Burma,
Roy Ayers Ubiquity,
The Pretty Things,
The Electric Prunes,
Kayak,
The Fugs,
The American Breed,
Cluster,
Electric Prunes,
Sarah Menescal,
Interpol,
David Axelrod,
T. Rex,
John Foxx,
Stiv Bators,
Amon Düül II,
B.T. Express,
Clear Light,
The Leaves,
Morten Harket,
Ultravox,
Gabor Szabo,
the Association,
Pagans,
John Lydon,
Groovy Waters,
Joe Finger,
Juan Atkins,
Alphaville,
Robert Hood,
Girls At Our Best!,
Hashim,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.