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 Sierra Leone and from Paris.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Beijing 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Soul II Soul to the electroclash kids.
I played it at the Hacienda.
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 Mars. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
The Litter,
Public Enemy,
The Cure,
the Swans,
The Mummies,
Wolf Eyes,
Icehouse,
Barbara Tucker,
The Jesus and Mary Chain,
Deadbeat,
Iggy Pop,
The Divine Comedy,
Sun Ra,
Matthew Bourne,
Second Layer,
Suicide,
Hashim,
ABC,
Susan Cadogan,
Echo & the Bunnymen,
Faraquet,
Barry Ungar,
the Germs,
Charles Mingus,
Lafayette Afro Rock Band,
Super Lover Cee & Casanova Rud,
Brass Construction,
Blancmange,
Tears for Fears,
Deakin,
Slave,
Boredoms,
Erasure,
The Sisters of Mercy,
Yaz,
Gil Scott-Heron & Brian Jackson,
Judy Mowatt,
Pantaleimon,
Grauzone,
Radiopuhelimet,
Janne Schatter,
Los Fastidios,
Arcadia,
Notorious Big And Bone Thugs,
Jesper Dahlbäck,
Todd Rundgren,
The Detroit Cobras,
Kool G Rap & DJ Polo,
Jerry's Kids,
Swans,
Minnie Riperton,
Gang Green,
Guru Guru,
Aaron Thompson,
F. McDonald,
Agitation Free,
Unrelated Segments,
The Seeds,
Avey Tare,
Mandrill,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.