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 Macedonia and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1973.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 mellotron 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 Soft Cell to the dance 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 X-Ray Spex. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Agent Orange 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 '80s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Kings Of Tomorrow,
Tears for Fears,
Jesper Dahlback,
PIL,
Bauhaus,
Harpers Bizarre,
Max Romeo,
Rod Modell,
Eden Ahbez,
Wolf Eyes,
Kenny Larkin,
Peter and Kerry,
Anakelly,
Hashim,
Crooked Eye,
Isaac Hayes,
Pharoah Sanders,
X-102,
Livin' Joy,
Maleditus Sound,
Infiniti,
James Chance & The Contortions,
Zero Boys,
Funky Four + One,
Eric Copeland,
Negative Approach,
Kerri Chandler,
Crispy Ambulance,
The Shadows of Knight,
Rhythim Is Rhythim,
Deepchord,
The Happenings,
John Holt,
Smog,
Matthew Bourne,
Aswad,
The Motions,
Sixth Finger,
Oneida,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Be Bop Deluxe,
The Gap Band,
Eric Dolphy,
Gil Scott-Heron and Jamie xx,
Sex Pistols,
Public Image Ltd.,
The Pretty Things,
Rites of Spring,
Arab on Radar,
Notorious Big And Bone Thugs,
Peter Gordon & Love of Life Orchestra,
Ultramagnetic MC's,
Sparks,
Judy Mowatt,
Jerry Gold Smith,
Röyhkä ja Rättö ja Lehtisalo,
The Durutti Column,
Eyeless In Gaza,
Cheater Slicks,
Janne Schatter,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.