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 Brunei and from Hong Kong.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Salvador 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Todd Rundgren to the grime 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 Charles Mingus. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal dance 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 arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Motorama,
Accadde A,
Pharaoh Sanders and the Fire Engines,
Bronski Beat,
James Chance & The Contortions,
the Fania All-Stars,
Rekid,
Mary Jane Girls,
Bobbi Humphrey,
Lou Christie,
The Alarm Clocks,
Neil Young & Crazy Horse,
Chris & Cosey,
Underground Resistance,
Slave,
The Selecter,
Kaleidoscope,
Jawbox,
Letta Mbulu,
Suicide,
The Dead C,
Traffic Nightmare,
Roxy Music,
Metal Thangz,
Moebius,
Man Parrish,
Darondo,
Bobby Hutcherson,
Fatback Band,
Nik Kershaw,
Alton Ellis,
Sad Lovers and Giants,
Pierre Henry,
Patti Smith,
The Tremeloes,
Notorious Big And Bone Thugs,
Laurel Aitken,
Rosa Yemen,
Thompson Twins,
Spandau Ballet,
Main Source,
Youth Brigade,
Lindisfarne,
Andrew Ashong & Theo Parrish,
Harmonia,
Cabaret Voltaire,
Visage,
Ornette Coleman,
Monks,
Warsaw,
The Modern Lovers,
Harry Pussy,
The Dirtbombs,
Kings Of Tomorrow,
Television Personalities,
Lizzy Mercier Descloux,
the Human League,
Kauko Röyhkä ja Narttu,
Drive Like Jehu,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.