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 Bosnia Herzegovina and from Paris.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Philadelphia and Madrid.
I'm losing my edge to the art-school Glasgow 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Peter & Gordon to the techno kids.
I played it at the Crocodile.
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 Young Marble Giants. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Gun Club,
The Techniques,
Avey Tare & Kría Brekkan,
Morten Harket,
The Cramps,
The Shadows of Knight,
Arthur Verocai,
Sam Rivers,
Wighnomy Brothers & Robag Wruhme,
Nation of Ulysses,
Heavy D & The Boyz,
The Smoke,
Babytalk,
Country Teasers,
Major Organ And The Adding Machine,
Electric Light Orchestra,
The Saints,
Jimmy McGriff,
Talk Talk,
Bauhaus,
Bill Wells,
Rahsaan Roland Kirk,
EPMD,
Rosa Yemen,
Dead Boys,
Zero Boys,
This Heat,
Circle Jerks,
X-101,
The Dead C,
The Last Poets,
Mandrill,
Joensuu 1685,
Gichy Dan,
Public Enemy,
Jerry's Kids,
Adolescents,
AZ,
Gil Scott Heron,
The Mighty Diamonds,
Bang on a Can All-Stars,
The Monks,
The Index,
The Misunderstood,
Sexual Harrassment,
Monks,
Sparks,
It's A Beautiful Day,
Howard Jones,
JFA,
Theoretical Girls,
Easy Going,
Jerry Gold Smith,
The Litter,
Super Lover Cee & Casanova Rud,
The Kinks,
Essential Logic,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.