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 Pakistan and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Halifax and Spokane.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 Bad Manners to the dance 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 Derrick Morgan. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Franke,
Eric Copeland,
Inner City,
Pharoah Sanders,
Dual Sessions,
the Normal,
Youth Brigade,
Henry Cow,
Marmalade,
Bronski Beat,
Cecil Taylor,
Ohio Players,
Archie Shepp,
Althea and Donna,
Mission of Burma,
June Days,
Jesper Dahlbäck,
World's Most,
Wighnomy Brothers & Robag Wruhme,
Rahsaan Roland Kirk,
Dave Gahan,
Metal Thangz,
Eric Dolphy,
Marc Almond,
Brothers Johnson,
Ajijia Myrayebe,
The Standells,
Essential Logic,
Kings Of Tomorrow,
The Smiths,
Fat Boys,
Guru Guru,
Godley & Creme,
Nik Kershaw,
Alison Limerick,
The Leaves,
Rod Modell,
Yazoo,
The Durutti Column,
Y Pants,
Bill Near,
Rekid,
Traffic Nightmare,
Reuben Wilson,
Malaria!,
Marvin Gaye,
Sällskapet,
Spoonie Gee,
Public Image Ltd.,
Royal Trux,
Al Stewart,
Jesper Dahlback,
Ultimate Spinach,
Stetsasonic,
Unwound,
La Düsseldorf,
Scott Walker,
The Barracudas,
Audionom,
China Crisis,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.