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 Philippines and from Manila.
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 1973.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Halifax 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the rhodes 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 Bobby Byrd to the grime kids.
I played it at the Astoria.
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 Chocolate Watch Band. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every DJ Sneak record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Terrestrial Tones,
Joey Negro,
Eric Dolphy,
The Kinks,
Brass Construction,
Cluster,
Man Eating Sloth,
Gregory Isaacs,
Moebius,
Nas,
Maurizio,
Dark Day,
Heavy D & The Boyz,
The Pretty Things,
The American Breed,
Sex Pistols,
the Soft Cell,
Darondo,
Delta 5,
Larry & the Blue Notes,
Sun City Girls,
Harpers Bizarre,
Harmonia,
The Saints,
Rod Modell,
Pete Rock & C.L. Smooth,
Altered Images,
Minutemen,
Black Sheep,
Circle Jerks,
Black Flag,
James White and The Blacks,
Rufus Thomas,
Peter Gordon & Love of Life Orchestra,
Nils Olav,
Sandy B,
Selector Dub Narcotic,
Rotary Connection,
Mars,
Lonnie Liston Smith,
Erasure,
L. Decosne,
Eddi Front,
Yaz,
a-ha,
Animal Collective,
Amon Düül II,
Lou Reed,
The Red Krayola,
Sly & The Family Stone,
Avey Tare's Slasher Flicks,
Robert Görl,
Judy Mowatt,
Pole,
K-Klass,
The Names,
Anthony Braxton,
Roxy Music,
Eyeless In Gaza,
Pere Ubu,
ABC,
The Moody Blues,
The Motions,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.