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 Mexico and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school London 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Flamin' Groovies to the electroclash 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 Amon Düül II. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal rock 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Ohio Players,
JFA,
Model 500,
Simply Red,
Minutemen,
Heaven 17,
The Leaves,
Jacques Brel,
Flash Fearless,
The Toasters,
Man Eating Sloth,
The Black Dice,
The Alarm Clocks,
Electric Light Orchestra,
The Victims,
The Birthday Party,
Easy Going,
Little Man,
E-Dancer,
Angry Samoans,
Nils Olav,
K-Klass,
Infiniti,
The Zeros,
Orchestral Manoeuvres in the Dark,
The Busters,
Moebius,
Roy Ayers Ubiquity,
Los Fastidios,
Cluster,
Dawn Penn,
Reuben Wilson,
Throbbing Gristle,
Can,
Notorious Big And Bone Thugs,
Amazonics,
The Motions,
Rowland S Howard / Lydia Lunch,
Matthew Halsall,
Susan Cadogan,
Deutsch Amerikanische Freundschaft,
L. Decosne,
Jacob Miller,
Kings Of Tomorrow,
DJ Style,
Excepter,
The Stooges,
Echospace,
Andrew Ashong & Theo Parrish,
Pantaleimon,
Avey Tare & Kría Brekkan,
Junior Murvin,
Sällskapet,
Marcia Griffiths,
The Slits,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.