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 Mali and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer 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 Pet Shop Boys to the techno kids.
I played it at the Troubador.
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 Excepter. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Leonard Cohen 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Al Stewart,
Interpol,
Siglo XX,
Kerri Chandler,
Fugazi,
London Community Gospel Choir,
The Offenders,
L. Decosne,
Black Bananas,
Marshall Jefferson,
The Fuzztones,
Brass Construction,
Bobby Womack,
Brand Nubian,
Malaria!,
Joe Finger,
Kool G Rap & DJ Polo,
Gang Green,
Lou Reed,
Drive Like Jehu,
Warren Ellis,
the Swans,
Essential Logic,
Bootsy Collins,
Yaz,
The Tremeloes,
The Blues Magoos,
Barbara Tucker,
Hashim,
Eden Ahbez,
The Black Dice,
Loose Ends,
Amon Düül II,
The Young Rascals,
Easy Going,
Ultimate Spinach,
Fat Boys,
the Human League,
The Barracudas,
Lafayette Afro Rock Band,
Marine Girls,
Pulsallama,
Bang on a Can All-Stars,
The Monks,
Skaos,
Cameo,
Niagra,
The Cosmic Jokers,
The Raincoats,
Porter Ricks,
Soft Machine,
John Lydon,
Harry Pussy,
The Shadows of Knight,
Pussy Galore,
Idris Muhammad,
Donny Hathaway,
Dawn Penn,
U.S. Maple,
Sun Ra,
The Stooges, The Stooges, The Stooges, The Stooges.
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.