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 Gambia and from Cairo.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Spokane 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Alison Limerick to the rock kids.
I played it at the Hacienda.
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 Stockholm Monsters. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Sun Ra Arkestra 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Laurel Aitken,
The Dirtbombs,
Cymande,
Pierre Henry,
The Knickerbockers,
The West Coast Pop Art Experimental Band,
The Black Dice,
Nico,
Ajijia Myrayebe,
Babytalk,
Ultramagnetic MC's,
Strawberry Alarm Clock,
Eurythmics,
Don Cherry,
June of 44,
Wire,
Notorious Big And Bone Thugs,
Henry Cow,
Girls At Our Best!,
Stetsasonic,
Flipper,
Gastr Del Sol,
Lakeside,
John Coltrane,
Aloha Tigers,
The Music Machine,
Thinking Fellers Union Local 282,
Fear,
Glenn Branca,
Ultimate Spinach,
Nils Olav,
Louis and Bebe Barron,
Gong,
Japan,
Dark Day,
Gerry Rafferty,
World's Most,
Swell Maps,
Charles Mingus,
Robert Görl,
Nick Cave & The Bad Seeds,
The Smiths,
Janne Schatter,
Hardrive,
Agitation Free,
Pulsallama,
Unwound,
Simply Red,
Bill Wells,
David Axelrod,
Moebius,
Swans,
Cluster,
The Saints,
The United States of America,
Ultravox,
F. McDonald,
Gil Scott-Heron and Jamie xx,
Ludus,
Subhumans, Subhumans, Subhumans, Subhumans.
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.