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 Uzbekistan 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 1963 to 1979.
I'm losing my edge.
To all the kids in Bremen and Paris.
I'm losing my edge to the art-school Portland 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Stiv Bators to the electroclash 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 Hasil Adkins. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Max Romeo,
T. Rex,
Minutemen,
Jesper Dahlback,
Kango’s Stein Massive,
Liaisons Dangereuses,
Gary Puckett & The Union Gap,
Gian Franco Pienzio,
Animal Collective,
Lou Reed & John Cale,
Radiopuhelimet,
Bush Tetras,
Lizzy Mercier Descloux,
Derrick May,
UT,
Neil Young,
Electric Prunes,
Be Bop Deluxe,
Heaven 17,
Negative Approach,
Guru Guru,
Dark Day,
Gichy Dan,
The Last Poets,
Fat Boys,
Television,
Bad Manners,
Shuggie Otis,
Minny Pops,
Grey Daturas,
Juan Atkins,
Davy DMX,
June of 44,
Brick,
The Vogues,
F. McDonald,
La Düsseldorf,
Organ,
Mo-Dettes,
World's Most,
Roy Ayers,
Ken Boothe,
Tears for Fears,
The Mighty Diamonds,
The Walker Brothers,
Robert Wyatt,
Nation of Ulysses,
The Star Department,
Sexual Harrassment,
Bobby Sherman,
The Kinks,
X-Ray Spex,
David Axelrod,
The Human League,
Joe Smooth,
B.T. Express,
Lakeside,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.