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 Saudi Arabia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Spokane 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 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 The Barracudas to the rock 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 Big Daddy Kane. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Average White Band 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 '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Motorama,
The Music Machine,
Rotary Connection,
Ultravox,
Young Marble Giants,
Marvin Gaye,
John Cale,
Ultra Naté,
Thee Headcoats,
Alton Ellis,
Sällskapet,
X-101,
Icehouse,
The Real Kids,
Au Pairs,
The Gories,
The Cramps,
Godley & Creme,
Joe Smooth,
Lonnie Liston Smith,
Bronski Beat,
Skaos,
Slave,
Lalo Schifrin,
Trumans Water,
Robert Hood,
Danielle Patucci,
Fela Kuti,
The Remains,
Al Stewart,
AZ,
Idris Muhammad,
Underground Resistance,
The Mummies,
The Fuzztones,
The Names,
Gian Franco Pienzio,
The Sound,
Sun Ra Arkestra,
The Chocolate Watch Band,
Don Cherry,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
DJ Sneak,
The Neon Judgement,
The Pop Group,
The Stooges,
Röyhkä ja Rättö ja Lehtisalo,
K-Klass,
Pylon,
Ice-T,
Pantaleimon,
Q65,
Todd Terry,
Masters at Work,
Rowland S Howard / Lydia Lunch,
Kings Of Tomorrow,
Soft Cell,
Kas Product,
Tim Buckley,
The Fugs,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.