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 Serbia and from Beijing.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Cairo and Spokane.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Lebanon Hanover to the disco kids.
I played it at the Spitz.
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 Amon Düül II. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Marmalade,
James White and The Blacks,
The Zeros,
Accadde A,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Wyatt,
Bauhaus,
Youth Brigade,
The Fuzztones,
Circle Jerks,
Cecil Taylor,
The Dirtbombs,
Pantytec,
Jesper Dahlbäck,
Curtis Mayfield,
Girls At Our Best!,
Depeche Mode,
The Moleskins,
New Age Steppers,
The Detroit Cobras,
DNA,
Metal Thangz,
Gang of Four,
Blake Baxter,
The Seeds,
Little Man,
Supertramp,
Excepter,
Lizzy Mercier Descloux,
Kerri Chandler,
London Community Gospel Choir,
Masters at Work,
Juan Atkins,
Eyeless In Gaza,
Soul Sonic Force,
Idris Muhammad,
The Gun Club,
Barclay James Harvest,
Aloha Tigers,
Henry Cow,
Aural Exciters,
Delon & Dalcan,
Icehouse,
Barrington Levy,
Khruangbin,
Sun Ra Arkestra,
The Blues Magoos,
Cymande,
Donald Byrd,
Panda Bear,
Simply Red,
Justin Hinds & The Dominoes,
Monolake,
Kas Product,
The Busters,
Make Up,
Heavy D & The Boyz,
Banda Bassotti,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.