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 Cuba and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1974.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Houston 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Soft Cell to the jazz kids.
I played it at CBGB's.
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 48th St. Collective. All the underground hits.
All Orchestral Manoeuvres in the Dark tracks. I heard you have a vinyl of every the Human League 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
T.S.O.L.,
Steve Hackett,
Sun Ra Arkestra,
Bill Near,
Tommy Roe,
Neu!,
The Fortunes,
Adolescents,
Q and Not U,
The Young Rascals,
Brothers Johnson,
Crispian St. Peters,
Half Japanese,
Fluxion,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hoover,
Radio Birdman,
The Mojo Men,
The Litter,
Todd Rundgren,
Saccharine Trust,
Blake Baxter,
Peter Gordon & Love of Life Orchestra,
Procol Harum,
June of 44,
The Five Americans,
Deutsch Amerikanische Freundschaft,
Glambeats Corp.,
Lindisfarne,
Lyres,
Oneida,
Thompson Twins,
The Raincoats,
The Victims,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Television Personalities,
Cameo,
Stockholm Monsters,
Rites of Spring,
Jacques Brel,
Toni Rubio,
Hashim,
Piero Umiliani,
Harpers Bizarre,
Lizzy Mercier Descloux,
Simply Red,
Fifty Foot Hose,
Lakeside,
Subhumans,
London Community Gospel Choir,
Red Lorry Yellow Lorry,
Sound Behaviour,
Connie Case,
The Barracudas,
Thee Headcoats,
The Walker Brothers,
Max Romeo,
John Coltrane,
Ronan,
Charles Mingus,
Beasts of Bourbon,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.