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 Andorra and from Accra.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Wire practice in a loft in Watford.
I was working on the mellotron 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 Smog to the techno 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 The Kinks. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Sparks,
The Wake,
the Soft Cell,
Sugar Minott,
Eli Mardock,
Joensuu 1685,
Excepter,
The Gun Club,
Rakim,
Pierre Henry,
Be Bop Deluxe,
Television,
Kas Product,
Brothers Johnson,
Lalo Schifrin,
Angels of Light & Akron/Family,
Darondo,
Glambeats Corp.,
Althea and Donna,
Mission of Burma,
Unrelated Segments,
Gang Starr,
Newcleus,
Archie Shepp,
Black Bananas,
Siouxsie and the Banshees,
John Foxx,
Man Eating Sloth,
Tres Demented,
Schoolly D,
Adolescents,
Amazonics,
Terrestrial Tones,
Kayak,
Fugazi,
Metal Thangz,
Lou Reed & John Cale,
Smog,
Quadrant,
Rekid,
The American Breed,
Peter & Gordon,
Grandmaster Flash and the Furious Five,
Quando Quango,
AZ,
Soul II Soul,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Grey Daturas,
The Men They Couldn't Hang,
Pantaleimon,
Circle Jerks,
Crash Course in Science,
Ludus,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Names,
Major Organ And The Adding Machine,
Jimmy McGriff,
New Age Steppers,
The Moleskins,
Wighnomy Brothers & Robag Wruhme,
James White and The Blacks,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.