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 Paraguay and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Halifax 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Lightning Bolt to the techno kids.
I played it at the Troubador.
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 Steve Hackett. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Lou Christie,
Jeff Lynne,
Moss Icon,
Mantronix,
Pet Shop Boys,
U.S. Maple,
The Count Five,
Johnny Clarke,
Radio Birdman,
Drive Like Jehu,
Lindisfarne,
Anthony Braxton,
The Raincoats,
Crispy Ambulance,
Neil Young,
Supertramp,
The Evens,
Au Pairs,
Bob Dylan,
Pere Ubu,
Boredoms,
The Fortunes,
Japan,
Johnny Osbourne,
Eyeless In Gaza,
Camouflage,
Mars,
Ken Boothe,
Fluxion,
The Gories,
Yusef Lateef,
The Five Americans,
Steve Hackett,
The Shadows of Knight,
The Moleskins,
Crispian St. Peters,
The Last Poets,
Leonard Cohen,
The Pop Group,
E-Dancer,
Severed Heads,
Cheater Slicks,
James White and The Blacks,
Sun Ra,
Don Cherry,
The Gladiators,
Depeche Mode,
Amon Düül II,
Yellowson,
Iggy Pop,
Minor Threat,
The Birthday Party,
Patti Smith,
June of 44,
Gabor Szabo,
Suburban Knight,
Liliput,
Oppenheimer Analysis,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.