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 Cyprus and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Houston and Lille.
I'm losing my edge to the art-school Calgary 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 clarinet sounds with much patience.
I was there when David Bowie 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 Matthew Halsall to the techno kids.
I played it at the Troubador.
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 Mary Jane Girls. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal jazz 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 a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Curtis Mayfield,
Ultimate Spinach,
Blossom Toes,
Banda Bassotti,
The Grass Roots,
It's A Beautiful Day,
Marc Romboy vs. Booka Shade,
Pylon,
Liaisons Dangereuses,
The Fall,
Hot Snakes,
The American Breed,
F. McDonald,
Scientists,
La Düsseldorf,
Brick,
Shoche,
Ultravox,
The Barracudas,
The Real Kids,
Juan Atkins,
Technova,
DNA,
One Last Wish,
James White and The Blacks,
Simply Red,
Brass Construction,
Porter Ricks,
Eddi Front,
Amon Düül,
Quadrant,
Gang of Four,
Laurel Aitken,
Bill Wells,
Sun Ra Arkestra,
Saccharine Trust,
Barbara Tucker,
Slave,
Rapeman,
8 Eyed Spy,
The Fire Engines,
Bluetip,
Marcia Griffiths,
Spandau Ballet,
Piero Umiliani,
Avey Tare & Kría Brekkan,
The Shadows of Knight,
Moby Grape,
Electric Prunes,
Kango’s Stein Massive,
Man Parrish,
Mandrill,
Rites of Spring,
Soulsonic Force,
Urselle,
Johnny Osbourne,
Harry Pussy,
The Buckinghams,
Funky Four + One,
Avey Tare's Slasher Flicks,
Brothers Johnson,
Quantec, Quantec, Quantec, Quantec.
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.