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 Estonia 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 1968 to 1978.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school London 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Ituana to the punk kids.
I played it at the Roxy.
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 Knickerbockers. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Sparks 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Model 500,
The Five Americans,
Stereo Dub,
Rhythim Is Rhythim,
Second Layer,
Alphaville,
The New Christs,
La Düsseldorf,
A Flock of Seagulls,
Scion,
Aural Exciters,
The Gladiators,
New Order,
Dawn Penn,
Unrelated Segments,
Zero Boys,
Captain Beefheart & His Magic Band,
Qualms,
the Bar-Kays,
The Music Machine,
The Pretty Things,
Throbbing Gristle,
Crash Course in Science,
The Doors,
Ludus,
Prince Buster,
Pierre Henry,
The Pop Group,
Boredoms,
The Cowsills,
Charles Mingus,
The Mighty Diamonds,
Orchestral Manoeuvres in the Dark,
Major Organ And The Adding Machine,
Technova,
Larry & the Blue Notes,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Marcia Griffiths,
Magma,
Camouflage,
Kurtis Blow,
Don Cherry,
The Vogues,
Grauzone,
The Blackbyrds,
Ronnie Foster,
Brothers Johnson,
Barbara Tucker,
Sarah Menescal,
Lindisfarne,
Nirvana,
Dark Day,
Aaron Thompson,
The Moleskins,
Loose Ends,
Lucky Dragons,
Soul Sonic Force,
Royal Trux,
Bauhaus,
Swans,
Camberwell Now,
Adolescents, Adolescents, Adolescents, Adolescents.
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.