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 Mali and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 UT to the techno kids.
I played it at the Spitz.
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 Con Funk Shun. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Thompson Twins 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 a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Dark Day,
The Birthday Party,
Audionom,
Lafayette Afro Rock Band,
Television Personalities,
The Five Americans,
Ralphi Rosario,
48th St. Collective,
Jesper Dahlback,
Freddie Wadling,
Marc Romboy vs. Booka Shade,
Bluetip,
Sexual Harrassment,
Lou Reed,
Deadbeat,
The Associates,
Quando Quango,
Avey Tare & Kría Brekkan,
The Star Department,
Tom Boy,
Motorama,
B.T. Express,
Man Parrish,
Suburban Knight,
Piero Umiliani,
Zero Boys,
Nico,
It's A Beautiful Day,
Judy Mowatt,
Sight & Sound,
a-ha,
The Smoke,
Alice Coltrane,
The Sound,
Glenn Branca,
Ultramagnetic MC's,
Essential Logic,
Sunsets and Hearts,
Joensuu 1685,
Nick Cave & The Bad Seeds,
Sparks,
Grauzone,
The Beau Brummels,
Trumans Water,
The Gap Band,
Pere Ubu,
The Gories,
Flash Fearless,
Grey Daturas,
Circle Jerks,
De La Soul & Jungle Brothers,
Joe Finger,
Ituana,
James White and The Blacks,
Siouxsie and the Banshees,
Slave,
Avey Tare's Slasher Flicks,
The Fall,
Boz Scaggs,
Scientists, Scientists, Scientists, Scientists.
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.