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 Seychelles and from Mumbai.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 The Cure to the dance kids.
I played it at the Spitz.
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 Graham Central Station. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every H. Thieme 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Quantec,
Sarah Menescal,
Stereo Dub,
Bobby Sherman,
Funkadelic,
Deepchord,
Gregory Isaacs,
Bizarre Inc.,
Marcia Griffiths,
The Modern Lovers,
Deakin,
Black Moon,
Soulsonic Force,
Kas Product,
The Dead C,
Pagans,
Roy Ayers,
James Chance & The Contortions,
Aloha Tigers,
Cabaret Voltaire,
Severed Heads,
Organ,
Stockholm Monsters,
Oneida,
The Divine Comedy,
Black Sheep,
The Smiths,
Gil Scott-Heron and Jamie xx,
Sonic Youth,
The Black Dice,
Scientists,
Don Cherry,
Howard Jones,
The Skatalites,
The Mighty Diamonds,
Jeru the Damaja,
Yellowson,
Slick Rick,
Jesper Dahlbäck,
Sex Pistols,
Sun Ra,
Ossler,
Thompson Twins,
David McCallum,
Kool G Rap & DJ Polo,
Andrew Ashong & Theo Parrish,
Rufus Thomas,
Fluxion,
Al Stewart,
Accadde A,
Marmalade,
Flash Fearless,
Main Source,
Terry Callier,
Chrome,
Scion,
Henry Cow,
Brand Nubian,
Joey Negro,
Rotary Connection,
Strawberry Alarm Clock,
Tomorrow,
Sandy B, Sandy B, Sandy B, Sandy B.
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.