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 Ireland and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1964 to 1973.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Techniques to the electroclash kids.
I played it at Cafe Wha.
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 Section 25. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Young Marble Giants,
The Walker Brothers,
Cameo,
Andrew Ashong & Theo Parrish,
Faust,
Essential Logic,
Magazine,
10cc,
Wire,
Eden Ahbez,
Sparks,
Whodini,
Lucky Dragons,
The Dead C,
Iggy Pop,
Smog,
Cal Tjader,
Man Eating Sloth,
Oneida,
Lee Hazlewood,
Ohio Players,
Carl Craig,
Half Japanese,
Grey Daturas,
Fort Wilson Riot,
kango's stein massive,
The Jesus and Mary Chain,
Tommy Roe,
Bush Tetras,
Orchestral Manoeuvres in the Dark,
Suicide,
Funkadelic,
The Buckinghams,
Thee Headcoats,
Youth Brigade,
Niagra,
New York Dolls,
Kayak,
48th St. Collective,
Scrapy,
Outsiders,
Franke,
The Sisters of Mercy,
Peter Gordon & Love of Life Orchestra,
The Detroit Cobras,
Brick,
L. Decosne,
Marine Girls,
Inner City,
The Smiths,
The Martian,
Fat Boys,
Swell Maps,
Bootsy's Rubber Band,
The Music Machine,
Heavy D & The Boyz,
Masters at Work,
Fela Kuti,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.