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 Singapore and from Tokyo.
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 1972.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Suburban Knight to the grunge kids.
I played it at the Roxy.
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 Basic Channel. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Barbara Tucker 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Rites of Spring,
The Black Dice,
Bobby Byrd,
Bill Near,
Marvin Gaye,
The Sound,
World's Most,
Vaughan Mason & Crew,
E-Dancer,
a-ha,
Joyce Sims,
Banda Bassotti,
Strawberry Alarm Clock,
Richard Hell and the Voidoids,
Ronnie Foster,
F. McDonald,
Bobby Womack,
Robert Hood,
The Wake,
Warren Ellis,
Iggy Pop,
R.M.O.,
Agitation Free,
Simply Red,
Quando Quango,
Hoover,
Crooked Eye,
The Durutti Column,
The Young Rascals,
Mars,
Selector Dub Narcotic,
Youth Brigade,
Khruangbin,
Amon Düül,
Anakelly,
New Order,
Rapeman,
Crispy Ambulance,
The Golliwogs,
Robert Wyatt,
Masters at Work,
Kaleidoscope,
Bad Manners,
Beasts of Bourbon,
Bobby Sherman,
Jerry's Kids,
Tim Buckley,
Spandau Ballet,
Sun City Girls,
June of 44,
Girls At Our Best!,
Magma,
The Moleskins,
Juan Atkins,
Yazoo,
Bizarre Inc.,
Eden Ahbez,
Unwound,
The Electric Prunes,
Oneida,
Yusef Lateef,
Cybotron,
The Remains, The Remains, The Remains, The Remains.
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.