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 Serbia and from Johannesburg.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Seoul and Delhi.
I'm losing my edge to the art-school Spokane 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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes 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 Louis and Bebe Barron 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 Blossom Toes. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Dennis Brown,
Country Teasers,
the Slits,
Silicon Teens,
Rhythm & Sound,
Marshall Jefferson,
The Vogues,
Lou Reed,
Roxy Music,
Bill Near,
Angels of Light & Akron/Family,
The Angels of Light,
Tommy Roe,
DJ Style,
Tomorrow,
The Alarm Clocks,
Von Mondo,
The Stooges,
Lou Christie,
Loose Ends,
Bauhaus,
D'Angelo,
Ultimate Spinach,
David Axelrod,
Rhythim Is Rhythim,
John Cale,
Stetsasonic,
Grandmaster Flash and the Furious Five,
Pharaoh Sanders and the Fire Engines,
Deadbeat,
Aloha Tigers,
F. McDonald,
The Tremeloes,
Bootsy's Rubber Band,
Mandrill,
The Doors,
Minny Pops,
Fad Gadget,
Camron Feat. Memphis Bleek And Beenie Seigel,
Smog,
Ronan,
Larry & the Blue Notes,
Radio Birdman,
Unrelated Segments,
Josef K,
Suburban Knight,
Eli Mardock,
The Searchers,
Grandmaster Flash,
Colin Newman,
Arthur Verocai,
Matthew Halsall,
The Durutti Column,
FM Einheit,
Hasil Adkins,
Kevin Saunderson,
Sunsets and Hearts,
Gastr Del Sol,
Main Source,
A Certain Ratio,
The Real Kids,
June of 44, June of 44, June of 44, June of 44.
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.