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 Rwanda and from Delhi.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Kool Moe Dee 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 Lou Reed. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Urselle,
Soft Cell,
Donny Hathaway,
Jeru the Damaja,
Althea and Donna,
Black Pus,
Eyeless In Gaza,
Erasure,
Frankie Knuckles,
the Normal,
Unrelated Segments,
ABBA,
kango's stein massive,
T.S.O.L.,
Crime,
Faust,
Wally Richardson,
Kurtis Blow,
Ultravox,
The Sonics,
Ronnie Foster,
Sarah Menescal,
Charles Mingus,
Aaron Thompson,
Notorious Big And Bone Thugs,
The Saints,
Monks,
Boogie Down Productions,
The Martian,
Section 25,
Bill Wells,
The Mighty Diamonds,
Traffic Nightmare,
Harmonia,
The Shadows of Knight,
Saccharine Trust,
Bizarre Inc.,
Pierre Henry,
Marshall Jefferson,
Flamin' Groovies,
EPMD,
The Slackers,
Sonic Youth,
Rapeman,
Sixth Finger,
Monolake,
Hardrive,
Wire,
Hashim,
Chrome,
Scrapy,
London Community Gospel Choir,
Kaleidoscope,
the Germs,
F. McDonald,
Jandek,
Talk Talk,
Jeff Mills,
Pantaleimon,
Al Stewart,
Avey Tare's Slasher Flicks,
The Durutti Column,
Avey Tare,
Ronan, Ronan, Ronan, Ronan.
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.