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 Finland and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Winnipeg 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Birthday Party to the punk kids.
I played it at the Crocodile.
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 Interpol. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
The Pretty Things,
The Skatalites,
Godley & Creme,
John Lydon,
Bobbi Humphrey,
Dual Sessions,
Organ,
Todd Terry,
Stockholm Monsters,
Ultra Naté,
Half Japanese,
The Smoke,
Tears for Fears,
Piero Umiliani,
Kings Of Tomorrow,
Whodini,
Tomorrow,
Aloha Tigers,
Gichy Dan,
The Doobie Brothers,
John Coltrane,
E-Dancer,
Chrome,
Eli Mardock,
Crash Course in Science,
F. McDonald,
Yaz,
Moss Icon,
Pharoah Sanders,
Wasted Youth,
Dennis Brown,
The Barracudas,
Bobby Hutcherson,
Avey Tare's Slasher Flicks,
Dorothy Ashby,
UT,
Danielle Patucci,
Moebius,
Chris Corsano,
Excepter,
Sixth Finger,
The Cure,
Suburban Knight,
Circle Jerks,
The Evens,
Amazonics,
Ultramagnetic MC's,
Skriet,
Basic Channel,
Delta 5,
Peter and Kerry,
Crispy Ambulance,
Robert Wyatt,
Arcadia,
Orchestral Manoeuvres in the Dark,
Wally Richardson,
Reuben Wilson,
The Young Rascals,
Erykah Badu,
Electric Light Orchestra,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.