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 Seychelles and from Toronto.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Manila.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Connie Case to the grunge 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 Amazonics. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Rahsaan Roland Kirk,
Althea and Donna,
Lizzy Mercier Descloux,
The Black Dice,
Brass Construction,
Johnny Clarke,
Masters at Work,
kango's stein massive,
Avey Tare's Slasher Flicks,
Harpers Bizarre,
Rowland S Howard / Lydia Lunch,
Notorious Big And Bone Thugs,
Dual Sessions,
Malaria!,
Erasure,
Camouflage,
The Techniques,
Lindisfarne,
Surgeon,
Arthur Verocai,
Selector Dub Narcotic,
Soul Sonic Force,
the Bar-Kays,
These Immortal Souls,
The Offenders,
Wolf Eyes,
Loose Ends,
The Wake,
Oppenheimer Analysis,
Peter & Gordon,
Pantaleimon,
Lonnie Liston Smith,
Sarah Menescal,
Unrelated Segments,
The Pretty Things,
Moby Grape,
Faust,
The Vogues,
Joensuu 1685,
Bobby Byrd,
Sunsets and Hearts,
Hoover,
Adolescents,
Banda Bassotti,
H. Thieme,
Marshall Jefferson,
New York Dolls,
Sun Ra,
Japan,
Sonny Sharrock,
Joe Finger,
Mars,
Sound Behaviour,
Symarip,
John Cale,
The Mummies,
The Detroit Cobras,
De La Soul & Jungle Brothers,
The Gap Band,
Liaisons Dangereuses,
Mission of Burma,
John Lydon,
Amon Düül II,
Quadrant, Quadrant, Quadrant, Quadrant.
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.