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 Andorra and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1976.
I'm losing my edge.
To all the kids in New York and Woodstock.
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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Pylon to the funk 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 Gang Green. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Jeru the Damaja,
Schoolly D,
Maleditus Sound,
Scion,
Drive Like Jehu,
Arthur Verocai,
Scan 7,
Man Eating Sloth,
Cecil Taylor,
Black Pus,
Visionaries,LMNO, T- Love & Iriscience,
China Crisis,
Cybotron,
X-101,
MC5,
Grandmaster Flash and the Furious Five,
Ossler,
Eurythmics,
The Alarm Clocks,
Donald Byrd,
Teenage Jesus and the Jerks,
Gang of Four,
Cal Tjader,
Kool G Rap & DJ Polo,
Fifty Foot Hose,
CMW,
X-102,
Glambeats Corp.,
Alton Ellis,
Aloha Tigers,
Anthony Braxton,
Gerry Rafferty,
Oblivians,
Joe Smooth,
Joyce Sims,
Oneida,
Johnny Clarke,
Tommy Roe,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bobby Sherman,
Bobby Hutcherson,
Yaz,
Soft Machine,
The Gladiators,
The Monks,
Boredoms,
Fad Gadget,
The Count Five,
The Names,
Stockholm Monsters,
New Age Steppers,
Livin' Joy,
Organ,
Erasure,
Pulsallama,
Crime,
The Invisible,
Vladislav Delay,
Minutemen,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.