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 Bangladesh and from Copenhagen.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 Scott Walker + Sunn O))) to the crunk kids.
I played it at the 40 Watt.
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 K-Klass. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal funk 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 a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Cabaret Voltaire,
Pylon,
Cymande,
Warsaw,
F. McDonald,
Danielle Patucci,
Marmalade,
One Last Wish,
Don Cherry,
Minor Threat,
The Blackbyrds,
Can,
Scratch Acid,
Sarah Menescal,
Half Japanese,
Black Pus,
Pole,
The Dirtbombs,
London Community Gospel Choir,
Pet Shop Boys,
Thee Headcoats,
The Zeros,
The Kinks,
Suicide,
The Cowsills,
Das Ding,
Kerri Chandler,
Japan,
Matthew Halsall,
Kings Of Tomorrow,
June of 44,
Pere Ubu,
Kerrie Biddell,
Animal Collective,
It's A Beautiful Day,
Model 500,
Grandmaster Flash,
Byron Stingily,
Ronan,
Lightning Bolt,
X-101,
Pagans,
Warren Ellis,
The Neon Judgement,
Bob Dylan,
Rosa Yemen,
CMW,
Visionaries,LMNO, T- Love & Iriscience,
Ken Boothe,
Gastr Del Sol,
Richard Hell and the Voidoids,
Spandau Ballet,
Orchestral Manoeuvres in the Dark,
Robert Hood,
The Mummies,
Rahsaan Roland Kirk,
Jacob Miller,
The Electric Prunes,
B.T. Express,
The Associates, The Associates, The Associates, The Associates.
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.