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 Tonga 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 1961 to 1979.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Madrid 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Magma to the grime kids.
I played it at the Spitz.
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 The Move. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every AZ 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 '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Siglo XX,
Outsiders,
Inner City,
Wire,
The Raincoats,
Rapeman,
Mark Hollis,
Royal Trux,
Blossom Toes,
Neu!,
Lou Reed,
Laurel Aitken,
Bob Dylan,
Fat Boys,
Aaron Thompson,
Lyres,
Lightning Bolt,
Gang of Four,
New York Dolls,
Be Bop Deluxe,
Silicon Teens,
Eric Dolphy,
Roger Hodgson,
Icehouse,
Joy Division,
The Shadows of Knight,
Marine Girls,
Bronski Beat,
Ludus,
The Mummies,
the Soft Cell,
Gil Scott-Heron and Jamie xx,
Lizzy Mercier Descloux,
Erasure,
Pole,
Rosa Yemen,
The Velvet Underground,
Godley & Creme,
Jawbox,
Todd Rundgren,
DNA,
Ornette Coleman,
The Five Americans,
The Angels of Light,
Louis and Bebe Barron,
Adolescents,
The West Coast Pop Art Experimental Band,
Los Fastidios,
Animal Collective,
ABC,
Pet Shop Boys,
Carl Craig,
Cybotron,
Crash Course in Science,
Brick,
Thompson Twins,
Joensuu 1685,
Jandek,
Jacques Brel,
Crispy Ambulance,
The New Christs,
The Blues Magoos,
Andrew Ashong & Theo Parrish,
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.