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 Saudi Arabia and from Madrid.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Toronto and Portland.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the theremin 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 The Cramps to the punk 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 Sonic Youth. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Lou Reed 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
The Golliwogs,
The Smiths,
Kayak,
Alice Coltrane,
Shuggie Otis,
Joensuu 1685,
Eddi Front,
Public Image Ltd.,
Davy DMX,
Maurizio,
The Toasters,
Ken Boothe,
Grey Daturas,
John Cale,
Rites of Spring,
Ultimate Spinach,
Grauzone,
Lalo Schifrin,
Ultra Naté,
Mr. Review,
Masters at Work,
R.M.O.,
Ohio Players,
10cc,
Yusef Lateef,
Pole,
Chris & Cosey,
Rosa Yemen,
Silicon Teens,
Skriet,
Depeche Mode,
Anakelly,
Boogie Down Productions,
Cecil Taylor,
New Order,
The Slackers,
Harpers Bizarre,
Pere Ubu,
X-Ray Spex,
Stereo Dub,
Audionom,
New York Dolls,
The Dirtbombs,
Babytalk,
The Young Rascals,
Freddie Wadling,
It's A Beautiful Day,
ABC,
Organ,
Lindisfarne,
The Mummies,
Terry Callier,
The Velvet Underground,
Sugar Minott,
Radiopuhelimet,
Stetsasonic,
Sun Ra,
Roxy Music,
Heavy D & The Boyz,
Joe Smooth,
Gong,
Kevin Saunderson,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.