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 Ukraine and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Winnipeg 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Buzzcocks to the dance 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 Ultravox. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Morten Harket 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 '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Aural Exciters,
Maleditus Sound,
Fluxion,
Lou Reed & Metallica,
John Foxx,
Ultravox,
Livin' Joy,
Unrelated Segments,
Kayak,
Depeche Mode,
Flipper,
The Dave Clark Five,
Mr. Review,
Derrick May,
Selector Dub Narcotic,
Average White Band,
Matthew Bourne,
Robert Görl,
Deadbeat,
Vaughan Mason & Crew,
T.S.O.L.,
Harpers Bizarre,
Lindisfarne,
Aaron Thompson,
Rites of Spring,
Smog,
10cc,
Art Ensemble Of Chicago,
Neu!,
June of 44,
Notorious Big And Bone Thugs,
The Angels of Light,
Pussy Galore,
Motorama,
The Leaves,
Slick Rick,
La Düsseldorf,
Buzzcocks,
James Chance & The Contortions,
Peter and Kerry,
Agitation Free,
The New Christs,
Gastr Del Sol,
Charles Mingus,
Bizarre Inc.,
The Sisters of Mercy,
Grey Daturas,
Beasts of Bourbon,
Bobby Womack,
Bluetip,
Theoretical Girls,
Angry Samoans,
Alphaville,
Electric Light Orchestra,
Interpol,
Soulsonic Force,
Fear,
Bobby Byrd,
KRS-One,
Deutsch Amerikanische Freundschaft,
Lyres,
Yellowson,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.