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 Niger and from Edmonton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 Andrew Ashong & Theo Parrish to the grime kids.
I played it at the 40 Watt.
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 Swans. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Bootsy's Rubber Band record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Angry Samoans,
The Angels of Light,
Art Ensemble Of Chicago,
The Tremeloes,
Sun City Girls,
DNA,
Yusef Lateef,
Masters at Work,
Bauhaus,
The Black Dice,
Vladislav Delay,
Lower 48,
Lungfish,
Amon Düül II,
Barrington Levy,
Dennis Brown,
Glambeats Corp.,
Beasts of Bourbon,
Notorious Big And Bone Thugs,
Deakin,
Sarah Menescal,
Stockholm Monsters,
Gang Starr,
Harry Pussy,
Rhythim Is Rhythim,
The Residents,
Faust,
Japan,
Nick Cave & The Bad Seeds,
London Community Gospel Choir,
Jesper Dahlback,
The Slits,
Oblivians,
PIL,
Royal Trux,
Whodini,
Oppenheimer Analysis,
Neu!,
Johnny Clarke,
Arcadia,
Guru Guru,
The Remains,
Camberwell Now,
The Vogues,
Tim Buckley,
Rod Modell,
R.M.O.,
Laurel Aitken,
Chris & Cosey,
Tears for Fears,
Toni Rubio,
Donald Byrd,
Spoonie Gee,
The Offenders,
The Mummies,
Skaos,
Bobby Byrd,
Make Up,
Soulsonic Force,
Organ,
Al Stewart,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.