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 Slovenia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Glasgow and Madrid.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Siouxsie and the Banshees to the grime kids.
I played it at the Hacienda.
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 Barracudas. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Gary Puckett & The Union Gap,
The Jesus and Mary Chain,
Stockholm Monsters,
Gichy Dan,
Bootsy Collins,
Andrew Ashong & Theo Parrish,
Public Enemy,
Rotary Connection,
Country Joe & The Fish,
Bizarre Inc.,
Manfred Mann's Earth Band,
The Leaves,
Sam Rivers,
Robert Wyatt,
Rhythm & Sound,
Connie Case,
Babytalk,
Rapeman,
the Swans,
Robert Görl,
Ludus,
The Fall,
Pet Shop Boys,
Max Romeo,
Swell Maps,
Malaria!,
Wally Richardson,
Richard Hell and the Voidoids,
Y Pants,
Livin' Joy,
Accadde A,
Jeff Lynne,
Intrusion,
Ultramagnetic MC's,
Grandmaster Flash,
Yusef Lateef,
Althea and Donna,
Agitation Free,
Alison Limerick,
The Birthday Party,
Minnie Riperton,
Rowland S Howard / Lydia Lunch,
Colin Newman,
Sun Ra Arkestra,
EPMD,
Steve Hackett,
Black Flag,
Average White Band,
Flash Fearless,
The Doobie Brothers,
The Smoke,
It's A Beautiful Day,
DJ Style,
Scion,
Mantronix,
Chris Corsano,
Lonnie Liston Smith,
Jawbox,
Judy Mowatt,
Drive Like Jehu,
Nik Kershaw,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.