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 Dominica and from Edmonton.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Marmalade to the techno kids.
I played it at the Troubador.
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 Lebanon Hanover. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Davy DMX,
Stockholm Monsters,
Blossom Toes,
Harmonia,
Negative Approach,
Minnie Riperton,
Aural Exciters,
ABC,
Slave,
Lou Reed & Metallica,
K-Klass,
Robert Hood,
Peter & Gordon,
Justin Hinds & The Dominoes,
R.M.O.,
Gabor Szabo,
The Selecter,
DJ Style,
Fear,
the Germs,
the Normal,
D'Angelo,
The Slackers,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Jesus and Mary Chain,
Ornette Coleman,
Donald Byrd,
Vladislav Delay,
Derrick Morgan,
The Gap Band,
Country Teasers,
Soul II Soul,
The Vogues,
Larry & the Blue Notes,
Boredoms,
Faraquet,
Trumans Water,
The J.B.'s,
Average White Band,
De La Soul & Jungle Brothers,
Amon Düül,
The Cramps,
Vaughan Mason & Crew,
Nick Cave & The Bad Seeds,
The American Breed,
Nik Kershaw,
Minny Pops,
Mad Mike,
Lungfish,
Sister Nancy,
Groovy Waters,
FM Einheit,
Neu!,
the Bar-Kays,
Hot Snakes,
The Neon Judgement,
Rapeman,
Bush Tetras,
Alton Ellis,
Warren Ellis,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.