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 Austria and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Manchester 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 808 sounds with much patience.
I was there when Robert Palmer 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 Make Up to the grime kids.
I played it at the Astoria.
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 Freddie Wadling. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Public Image Ltd.,
Stockholm Monsters,
The Electric Prunes,
Gerry Rafferty,
Kango’s Stein Massive,
Television,
Inner City,
The Knickerbockers,
Blake Baxter,
Sound Behaviour,
Swans,
Bang on a Can All-Stars,
Jawbox,
Ornette Coleman,
Nirvana,
Justin Hinds & The Dominoes,
The Last Poets,
London Community Gospel Choir,
Amon Düül,
Cymande,
Marmalade,
Letta Mbulu,
Hardrive,
Erasure,
Jimmy McGriff,
Harry Pussy,
Shuggie Otis,
Pharoah Sanders,
Motorama,
Bizarre Inc.,
Yaz,
Terrestrial Tones,
Radiopuhelimet,
The Cowsills,
Echospace,
Tim Buckley,
Don Cherry,
A Flock of Seagulls,
Flamin' Groovies,
The Fuzztones,
Joey Negro,
The Black Dice,
Ash Ra Tempel,
The Standells,
Scan 7,
Man Eating Sloth,
Ossler,
Faust,
Scrapy,
Groovy Waters,
F. McDonald,
X-102,
cv313,
The Jesus and Mary Chain,
Mantronix,
Gian Franco Pienzio,
Marc Almond,
Johnny Clarke,
Soul Sonic Force,
Andrew Ashong & Theo Parrish,
The Leaves,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.