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 Slovenia and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1973.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Milan 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Pole to the electroclash kids.
I played it at the Crocodile.
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 Tres Demented. All the underground hits.
All Television tracks. I heard you have a vinyl of every Terror Squad Feat. Camron 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Young Marble Giants,
Babytalk,
Skarface,
Grey Daturas,
Erasure,
Soft Machine,
Big Daddy Kane,
Andrew Ashong & Theo Parrish,
Stiv Bators,
Eurythmics,
Technova,
KRS-One,
De La Soul & Jungle Brothers,
the Association,
Ken Boothe,
Marine Girls,
Supertramp,
Minor Threat,
Sonic Youth,
Anakelly,
Pete Rock & C.L. Smooth,
Easy Going,
Negative Approach,
Nils Olav,
The American Breed,
Spoonie Gee,
Depeche Mode,
The Detroit Cobras,
Nick Cave & The Bad Seeds,
The Real Kids,
Wolf Eyes,
Bauhaus,
Don Cherry,
Au Pairs,
Rhythim Is Rhythim,
The Remains,
Derrick Morgan,
June Days,
Manfred Mann's Earth Band,
Minnie Riperton,
Tropical Tobacco,
Sun City Girls,
Marmalade,
Suburban Knight,
Clear Light,
Black Moon,
Boredoms,
Boogie Down Productions,
Saccharine Trust,
Pylon,
Rod Modell,
Lucky Dragons,
Gil Scott-Heron and Jamie xx,
Bronski Beat,
Accadde A,
Strawberry Alarm Clock,
Man Eating Sloth,
Cheater Slicks,
The Seeds,
Los Fastidios,
Rosa Yemen,
Yaz, Yaz, Yaz, Yaz.
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.