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 Monaco and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Taipei 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 rhodes 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 Moss Icon to the rap kids.
I played it at the 40 Watt.
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 Man Parrish. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Sly & The Family Stone,
Los Fastidios,
The Barracudas,
Fifty Foot Hose,
Johnny Osbourne,
R.M.O.,
The Modern Lovers,
Roy Ayers,
Mandrill,
Trumans Water,
Joe Finger,
Panda Bear,
Make Up,
The American Breed,
Vladislav Delay,
Half Japanese,
Liaisons Dangereuses,
The Velvet Underground,
Sugar Minott,
Q and Not U,
Stereo Dub,
World's Most,
The Fire Engines,
Aaron Thompson,
The Blues Magoos,
Sunsets and Hearts,
Dead Boys,
Siglo XX,
The Offenders,
Oppenheimer Analysis,
Groovy Waters,
Funkadelic,
Pagans,
Lou Reed & John Cale,
Q65,
Robert Hood,
Pete Rock & C.L. Smooth,
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
Bang on a Can All-Stars,
Roger Hodgson,
The Victims,
Depeche Mode,
New Order,
Bobby Hutcherson,
Eyeless In Gaza,
Todd Rundgren,
Radiohead,
Sight & Sound,
Lightning Bolt,
The Walker Brothers,
Soft Cell,
Pulsallama,
The Five Americans,
Mars,
Darondo,
Andrew Hill,
Clear Light,
Lou Reed,
Nation of Ulysses,
Parry Music,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.