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 Bahrain and from Delhi.
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 1967 to 1973.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Sparks 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 The United States of America. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Delon & Dalcan 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Charles Mingus,
Average White Band,
The Tremeloes,
Ultramagnetic MC's,
Rosa Yemen,
David Bowie,
Deakin,
Marc Romboy vs. Booka Shade,
Ultravox,
Terry Callier,
Roger Hodgson,
The Birthday Party,
Archie Shepp,
Main Source,
Idris Muhammad,
Accadde A,
Piero Umiliani,
Sällskapet,
James Chance & The Contortions,
Warren Ellis,
Lightning Bolt,
the Sonics,
Fort Wilson Riot,
Davy DMX,
The Residents,
Dawn Penn,
Sex Pistols,
Underground Resistance,
Masters at Work,
Gerry Rafferty,
Infiniti,
Bauhaus,
Magazine,
The Pop Group,
Half Japanese,
Henry Cow,
Marc Almond,
Röyhkä ja Rättö ja Lehtisalo,
Lizzy Mercier Descloux,
Lakeside,
Grandmaster Flash,
Hasil Adkins,
X-102,
Dennis Brown,
Soft Machine,
Ultra Naté,
Be Bop Deluxe,
Ronnie Foster,
Bang On A Can,
Todd Terry,
Nas,
Chris Corsano,
Eric Dolphy,
Severed Heads,
Wings,
Electric Prunes,
Suburban Knight,
D'Angelo,
Jesper Dahlbäck,
Pole,
The Fortunes,
Monolake,
Make Up, Make Up, Make Up, Make Up.
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.