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 Armenia and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when David Bowie 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 Terrestrial Tones to the electroclash 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 John Foxx. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Groovy Waters,
The Misunderstood,
June Days,
Smog,
FM Einheit,
Massinfluence,
L. Decosne,
Art Ensemble Of Chicago,
F. McDonald,
It's A Beautiful Day,
Neu!,
Notorious Big And Bone Thugs,
Roy Ayers Ubiquity,
The New Christs,
Harpers Bizarre,
Deutsch Amerikanische Freundschaft,
David McCallum,
Boogie Down Productions,
Lindisfarne,
Negative Approach,
PIL,
Metal Thangz,
The Grass Roots,
World's Most,
Anakelly,
Beasts of Bourbon,
Graham Central Station,
E-Dancer,
AZ,
Captain Beefheart & His Magic Band,
Clear Light,
John Coltrane,
Grey Daturas,
the Association,
The Buckinghams,
Terry Callier,
Skriet,
the Sonics,
Black Pus,
Aloha Tigers,
Girls At Our Best!,
Sister Nancy,
U.S. Maple,
Sarah Menescal,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
Von Mondo,
The Residents,
Pole,
Roxette,
Sparks,
Mandrill,
Scott Walker,
The Dave Clark Five,
Crime,
Los Fastidios,
Ossler,
Pantytec,
Larry & the Blue Notes,
The Beau Brummels,
Harmonia,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.