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 Papua New Guinea and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 The Martian to the dance 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 Beau Brummels. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal jazz 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 a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Notorious Big And Bone Thugs,
Mr. Review,
Parry Music,
Piero Umiliani,
Wasted Youth,
Blancmange,
Gil Scott Heron,
Whodini,
China Crisis,
Slick Rick,
The Fall,
The Velvet Underground,
Stereo Dub,
Orchestral Manoeuvres in the Dark,
Lindisfarne,
Heaven 17,
Depeche Mode,
cv313,
Joy Division,
Ohio Players,
The Golliwogs,
Visionaries,LMNO, T- Love & Iriscience,
Mars,
The West Coast Pop Art Experimental Band,
Susan Cadogan,
The Music Machine,
Quadrant,
The Gories,
Livin' Joy,
Soul Sonic Force,
Marmalade,
PIL,
Laurel Aitken,
Bang on a Can All-Stars,
Patti Smith,
Kayak,
Sandy B,
Y Pants,
Section 25,
Gabor Szabo,
Colin Newman,
The Mojo Men,
These Immortal Souls,
Swell Maps,
Aaron Thompson,
Hot Snakes,
Juan Atkins,
Eddi Front,
the Fania All-Stars,
Hasil Adkins,
One Last Wish,
Ultimate Spinach,
Ludus,
Manfred Mann's Earth Band,
the Swans,
Cybotron,
The Move,
Jeff Mills,
Fifty Foot Hose,
Eurythmics,
Kenny Larkin,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.