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 Mongolia and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Barclay James Harvest to the disco kids.
I played it at Trash.
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 Neil Young. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Captain Beefheart & His Magic Band,
Sound Behaviour,
UT,
Gil Scott Heron,
Graham Central Station,
Johnny Osbourne,
Nils Olav,
Fifty Foot Hose,
MDC,
The Names,
Ken Boothe,
Bobby Womack,
Wire,
Sight & Sound,
Rhythm & Sound,
Q and Not U,
Neil Young,
Bronski Beat,
Selector Dub Narcotic,
Soul Sonic Force,
The Slackers,
Avey Tare & Kría Brekkan,
The Move,
Massinfluence,
Gabor Szabo,
U.S. Maple,
Simply Red,
Marc Romboy vs. Booka Shade,
Stereo Dub,
Vaughan Mason & Crew,
Thinking Fellers Union Local 282,
Lungfish,
Lower 48,
Max Romeo,
Spandau Ballet,
Lyres,
KRS-One,
the Slits,
Kaleidoscope,
Lou Christie,
Tres Demented,
Terrestrial Tones,
Scott Walker,
LL Cool J,
The Angels of Light,
Delta 5,
Oppenheimer Analysis,
Outsiders,
Johnny Clarke,
Archie Shepp,
Jandek,
Scratch Acid,
Arcadia,
Cameo,
the Association,
Peter Gordon & Love of Life Orchestra,
Minny Pops,
a-ha,
Unrelated Segments,
Eve St. Jones,
Donald Byrd,
Ultravox, Ultravox, Ultravox, Ultravox.
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.