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 Estonia and from Manchester.
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 1976.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 Carl Craig to the rap kids.
I played it at Cafe Wha.
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 Talk Talk. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fall record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Soulsonic Force,
Gerry Rafferty,
Louis and Bebe Barron,
Eric Copeland,
The West Coast Pop Art Experimental Band,
Blancmange,
Pharaoh Sanders and the Fire Engines,
Agent Orange,
The Cure,
Pole,
Vainqueur,
Sonny Sharrock,
Clear Light,
The Cosmic Jokers,
The Doobie Brothers,
the Soft Cell,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
The Moody Blues,
Gil Scott Heron,
Jeff Mills,
Fear,
Unrelated Segments,
Eurythmics,
Deutsch Amerikanische Freundschaft,
Arcadia,
Kaleidoscope,
Bootsy's Rubber Band,
Bad Manners,
Cal Tjader,
Zero Boys,
Pantytec,
Red Lorry Yellow Lorry,
Joe Finger,
The Music Machine,
Kevin Saunderson,
Subhumans,
The Sound,
Kurtis Blow,
Essential Logic,
Main Source,
Gil Scott-Heron & Brian Jackson,
Index,
Echo & the Bunnymen,
Crime,
The Offenders,
Harry Pussy,
The Last Poets,
Juan Atkins,
Yazoo,
The Kinks,
Lalann,
Bang on a Can All-Stars,
Deakin,
Deepchord,
Absolute Body Control,
The Five Americans,
Technova,
Eric Dolphy,
Lafayette Afro Rock Band,
Drive Like Jehu,
Dennis Brown,
June Days, June Days, June Days, June Days.
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.