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 Bahamas and from Jakarta.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Paris and Cairo.
I'm losing my edge to the art-school Spokane 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Gang of Four to the rap 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 The Wake. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Radiopuhelimet 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Bootsy's Rubber Band,
Eric Copeland,
ABC,
Shuggie Otis,
Faust,
Joyce Sims,
Nirvana,
Sonny Sharrock,
Glambeats Corp.,
Quadrant,
Dave Gahan,
Lou Reed & John Cale,
Babytalk,
The Sisters of Mercy,
Arcadia,
Public Enemy,
The Electric Prunes,
Negative Approach,
Derrick Morgan,
Strawberry Alarm Clock,
The Smiths,
The Blues Magoos,
Mad Mike,
Sad Lovers and Giants,
Mark Hollis,
Q and Not U,
The Vogues,
Siouxsie and the Banshees,
Faraquet,
New Order,
Jerry's Kids,
Crash Course in Science,
Tres Demented,
Qualms,
the Soft Cell,
The Invisible,
The Smoke,
Pierre Henry,
Cymande,
The American Breed,
New York Dolls,
Country Teasers,
Magazine,
X-Ray Spex,
Rekid,
Whodini,
The Busters,
The Star Department,
Bang On A Can,
the Normal,
Fatback Band,
Pharaoh Sanders and the Fire Engines,
Gichy Dan,
June Days,
Rotary Connection,
Archie Shepp,
The Buckinghams,
Q65,
Peter and Kerry,
De La Soul & Jungle Brothers,
Banda Bassotti,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.