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 Gambia and from Woodstock.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Aaron Thompson to the disco 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 Gang Gang Dance. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every The Sonics 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Girls At Our Best!,
Ultravox,
Masters at Work,
Inner City,
Brand Nubian,
Pantaleimon,
Gregory Isaacs,
Ten City,
Selector Dub Narcotic,
the Human League,
K-Klass,
Kas Product,
The Searchers,
Minutemen,
The Walker Brothers,
Popol Vuh,
Nas,
Nils Olav,
John Cale,
Simply Red,
Cheater Slicks,
Visionaries,LMNO, T- Love & Iriscience,
Gastr Del Sol,
Swans,
In Retrospect,
Depeche Mode,
The Golliwogs,
Lakeside,
Chris Corsano,
DJ Style,
Louis and Bebe Barron,
Henry Cow,
Stetsasonic,
Chris & Cosey,
The Evens,
MC5,
Stiv Bators,
The Skatalites,
The Jesus and Mary Chain,
Blake Baxter,
Black Sheep,
Steve Hackett,
Boredoms,
Soft Machine,
Sam Rivers,
Kenny Larkin,
Strawberry Alarm Clock,
Susan Cadogan,
Metal Thangz,
Parry Music,
Magazine,
X-101,
Matthew Bourne,
Grandmaster Flash and the Furious Five,
Alice Coltrane,
Rufus Thomas,
Andrew Ashong & Theo Parrish,
Agitation Free,
Y Pants,
Oppenheimer Analysis,
Blossom Toes,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.