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 South Africa and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Tehran 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 Holger Czukay 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 Spandau Ballet to the dance kids.
I played it at CBGB's.
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 Echospace. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal rap 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
Crime,
Procol Harum,
the Soft Cell,
Gary Puckett & The Union Gap,
The Velvet Underground,
The Sound,
Magazine,
The Pop Group,
Bauhaus,
Amazonics,
Nas,
Joey Negro,
The Move,
The Jesus and Mary Chain,
The Happenings,
Kool G Rap & DJ Polo,
Notorious Big And Bone Thugs,
Albert Ayler,
Richard Hell and the Voidoids,
The Cure,
The Music Machine,
Bronski Beat,
Au Pairs,
Lightning Bolt,
Hasil Adkins,
Massinfluence,
Harpers Bizarre,
Scientists,
Radiopuhelimet,
Suburban Knight,
Dave Gahan,
Spandau Ballet,
Sister Nancy,
The Human League,
Soft Cell,
The Stooges,
Fear,
Lafayette Afro Rock Band,
Jesper Dahlback,
Gil Scott-Heron & Brian Jackson,
The Alarm Clocks,
The Doobie Brothers,
Flipper,
Freddie Wadling,
Donny Hathaway,
Sun Ra Arkestra,
The Gladiators,
Gian Franco Pienzio,
Desert Stars,
The Fire Engines,
The Count Five,
New Age Steppers,
Kool Moe Dee,
Tubeway Army,
The Fuzztones,
The Buckinghams,
Pylon,
Babytalk,
Colin Newman,
Minutemen,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.