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 Ukraine and from Madrid.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Toronto 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 1976 at the first Wire practice in a loft in Watford.
I was working on the theremin 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 Echospace to the rap 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 The Cure. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs 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?
ABC,
The Cowsills,
Laurel Aitken,
Crash Course in Science,
James Chance & The Contortions,
David McCallum,
Quadrant,
Cabaret Voltaire,
The Trojans,
Dead Boys,
N.O.R.E. Featuring Pharrell,
The Selecter,
Jimmy McGriff,
Joe Smooth,
Mad Mike,
Kurtis Blow,
Amazonics,
The Grass Roots,
Drexciya,
Liliput,
H. Thieme,
Sexual Harrassment,
Basic Channel,
The Peanut Butter Conspiracy,
Angry Samoans,
The Gap Band,
Pussy Galore,
The Offenders,
Lalann,
Terry Callier,
Marc Romboy vs. Booka Shade,
Mandrill,
Steve Hackett,
Alton Ellis,
Mark Hollis,
New York Dolls,
John Lydon,
B.T. Express,
Kool Moe Dee,
Vladislav Delay,
Bizarre Inc.,
Sly & The Family Stone,
Public Image Ltd.,
Slave,
Aloha Tigers,
Magma,
Oneida,
Arcadia,
Pulsallama,
Bootsy Collins,
The Gories,
Röyhkä ja Rättö ja Lehtisalo,
The West Coast Pop Art Experimental Band,
Fluxion,
Robert Wyatt,
Yusef Lateef,
Ralphi Rosario,
The Smiths, The Smiths, The Smiths, The Smiths.
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.