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 Cameroon and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Manchester 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Offenders to the dance kids.
I played it at the Hacienda.
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. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every The Moleskins 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Drive Like Jehu,
The Residents,
Bootsy Collins,
Chrome,
Scratch Acid,
John Cale,
Blossom Toes,
Essential Logic,
Bobby Hutcherson,
Model 500,
Shoche,
Jawbox,
Patti Smith,
Royal Trux,
Neu!,
The West Coast Pop Art Experimental Band,
Traffic Nightmare,
Angry Samoans,
Lindisfarne,
Au Pairs,
Tropical Tobacco,
Newcleus,
New York Dolls,
Metal Thangz,
Skaos,
T. Rex,
The Litter,
Hoover,
The Electric Prunes,
Quando Quango,
James Chance & The Contortions,
Sound Behaviour,
Babytalk,
Black Pus,
Lou Reed & Metallica,
Kenny Larkin,
Visage,
Nation of Ulysses,
Sparks,
Juan Atkins,
Eurythmics,
Nils Olav,
The Cowsills,
Ultimate Spinach,
The Cosmic Jokers,
Fluxion,
London Community Gospel Choir,
Supertramp,
Liaisons Dangereuses,
Mars,
Boredoms,
Peter and Kerry,
Spandau Ballet,
X-Ray Spex,
Maurizio,
Isaac Hayes,
Amon Düül II,
Pete Rock & C.L. Smooth,
Louis and Bebe Barron,
The Monochrome Set,
Richard Hell and the Voidoids,
Slave,
It's A Beautiful Day,
Skriet, Skriet, Skriet, Skriet.
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.