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 Senegal and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Tokyo.
I'm losing my edge to the art-school Bremen 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Nation of Ulysses to the crunk 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 U.S. Maple. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Index,
Sun City Girls,
Lou Reed & Metallica,
the Bar-Kays,
Röyhkä ja Rättö ja Lehtisalo,
Ituana,
June Days,
Magma,
The Royal Family And The Poor,
Robert Wyatt,
The Gories,
The Smiths,
Gregory Isaacs,
Scratch Acid,
Alphaville,
Pylon,
Little Man,
The Seeds,
Bauhaus,
Tim Buckley,
Aaron Thompson,
Anakelly,
Todd Rundgren,
Nas,
Eurythmics,
KRS-One,
Symarip,
U.S. Maple,
Minny Pops,
Kas Product,
Faust,
Kauko Röyhkä ja Narttu,
Captain Beefheart & His Magic Band,
Organ,
One Last Wish,
The Zeros,
Ornette Coleman,
Matthew Halsall,
Agitation Free,
Scientists,
48th St. Collective,
The Dave Clark Five,
Marc Almond,
Eli Mardock,
The Mummies,
Stereo Dub,
Minnie Riperton,
Rufus Thomas,
The Fuzztones,
The Gun Club,
Goldenarms,
Brass Construction,
Boredoms,
The Cowsills,
The Red Krayola,
James Chance & The Contortions,
Lower 48,
Monks,
Roxy Music,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.