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 Colombia and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 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 The Gun Club to the grime 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 Jacob Miller. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Slick Rick,
Bootsy Collins,
Tommy Roe,
Joensuu 1685,
ABC,
The Fire Engines,
Country Joe & The Fish,
the Slits,
Supertramp,
The Sound,
Prince Buster,
Hoover,
Outsiders,
Television Personalities,
Easy Going,
Archie Shepp,
Ash Ra Tempel,
Sam Rivers,
The Pop Group,
Rhythm & Sound,
Newcleus,
The Vogues,
The Index,
Pere Ubu,
Lebanon Hanover,
Robert Görl,
Susan Cadogan,
Pete Rock & C.L. Smooth,
Danielle Patucci,
Gian Franco Pienzio,
The Misunderstood,
The Birthday Party,
Judy Mowatt,
Sad Lovers and Giants,
Pagans,
Inner City,
Unrelated Segments,
Sonic Youth,
Howard Jones,
Marmalade,
L. Decosne,
Barrington Levy,
Jesper Dahlback,
Amazonics,
Technova,
Oblivians,
Nico,
Byron Stingily,
Wally Richardson,
Masters at Work,
Roxy Music,
Skarface,
Scott Walker,
Jacques Brel,
Tres Demented,
The Shadows of Knight,
Lungfish,
Andrew Ashong & Theo Parrish,
Roxette,
Josef K,
Surgeon, Surgeon, Surgeon, Surgeon.
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.