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 Ethiopia and from Taipei.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Madrid 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet 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 Al Stewart to the grime 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 Rapeman. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Nico,
Selector Dub Narcotic,
Rotary Connection,
Bronski Beat,
Kevin Saunderson,
Q and Not U,
Sexual Harrassment,
Strawberry Alarm Clock,
The Dirtbombs,
Cameo,
Roxette,
Deepchord,
Siouxsie and the Banshees,
Deadbeat,
Colin Newman,
Essential Logic,
The Moody Blues,
Half Japanese,
Barbara Tucker,
Popol Vuh,
48th St. Collective,
Eli Mardock,
Amon Düül II,
Little Man,
Peter Gordon & Love of Life Orchestra,
The Wake,
Bush Tetras,
Cybotron,
The Red Krayola,
Agitation Free,
Radio Birdman,
Smog,
Peter and Kerry,
Altered Images,
Nils Olav,
Schoolly D,
The Cramps,
Unwound,
Erasure,
Au Pairs,
DJ Sneak,
Sex Pistols,
Joy Division,
The Pop Group,
Röyhkä ja Rättö ja Lehtisalo,
Young Marble Giants,
Sister Nancy,
Jesper Dahlbäck,
Amon Düül,
EPMD,
Pharoah Sanders,
Niagra,
Lee Hazlewood,
Sonny Sharrock,
Jerry Gold Smith,
The Black Dice,
The Grass Roots,
Parry Music,
Sällskapet,
Erykah Badu, Erykah Badu, Erykah Badu, Erykah Badu.
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.