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 Burkina and from Shanghai.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Marc Almond to the jazz 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 F. McDonald. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Cosmic Jokers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Notorious Big And Bone Thugs,
Funky Four + One,
Deutsch Amerikanische Freundschaft,
Joey Negro,
Spandau Ballet,
Gil Scott-Heron & Brian Jackson,
Goldenarms,
Electric Light Orchestra,
the Slits,
Sonny Sharrock,
Andrew Ashong & Theo Parrish,
Cybotron,
Pete Rock & C.L. Smooth,
Big Daddy Kane,
Qualms,
Deakin,
Howard Jones,
Scan 7,
Alice Coltrane,
Nils Olav,
Mars,
Magma,
Hoover,
Tropical Tobacco,
Newcleus,
La Düsseldorf,
Radiohead,
X-101,
Stockholm Monsters,
Amon Düül,
The Shadows of Knight,
The Residents,
Visionaries,LMNO, T- Love & Iriscience,
The Searchers,
The Raincoats,
The Sound,
Oneida,
Sly & The Family Stone,
Liaisons Dangereuses,
Anthony Braxton,
Adolescents,
Blossom Toes,
Al Stewart,
Brick,
Deadbeat,
Saccharine Trust,
The Angels of Light,
Rahsaan Roland Kirk,
Soulsonic Force,
Sun Ra Arkestra,
Eve St. Jones,
Gang of Four,
Ultramagnetic MC's,
Bobby Sherman,
Masters at Work,
Los Fastidios,
Davy DMX,
Barrington Levy,
Leonard Cohen,
Minor Threat,
Gichy Dan,
Lalann, Lalann, Lalann, Lalann.
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.