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 Dominican Republic and from Jakarta.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Jesper Dahlback to the rock kids.
I played it at the 40 Watt.
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 Flash Fearless. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Man Parrish,
The Barracudas,
Swans,
Electric Prunes,
DJ Sneak,
Clear Light,
Barrington Levy,
Minnie Riperton,
Dark Day,
The Cosmic Jokers,
The Dave Clark Five,
The Blues Magoos,
The Cramps,
Vaughan Mason & Crew,
Minutemen,
The Neon Judgement,
Eric B and Rakim,
The Count Five,
Ludus,
Carl Craig,
Louis and Bebe Barron,
Theoretical Girls,
Deadbeat,
Pagans,
New Order,
Notorious Big And Bone Thugs,
Severed Heads,
Don Cherry,
EPMD,
Wally Richardson,
the Swans,
The Jesus and Mary Chain,
Arab on Radar,
Black Sheep,
The Happenings,
Hoover,
Darondo,
Crispian St. Peters,
Visage,
Aswad,
Make Up,
Joe Smooth,
Todd Terry,
kango's stein massive,
a-ha,
Larry & the Blue Notes,
Laurel Aitken,
Grauzone,
Blancmange,
Amon Düül,
Erasure,
Jeff Lynne,
The New Christs,
Kerrie Biddell,
Cymande,
Radiopuhelimet,
Lindisfarne,
Sad Lovers and Giants,
The Fire Engines,
Minor Threat,
Talk Talk,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.