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 Saudi Arabia and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Glasgow.
I'm losing my edge to the art-school Accra 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 marimba 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 The Angels of Light to the grime kids.
I played it at the Crocodile.
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 Curtis Mayfield. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Soft Cell 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 '70s cut and another box set from the '70s.
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 Blancmange 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?
Audionom,
Janne Schatter,
Grey Daturas,
Pussy Galore,
The Jesus and Mary Chain,
Khruangbin,
The Gun Club,
Shuggie Otis,
Crash Course in Science,
Sex Pistols,
Dennis Brown,
Qualms,
Swell Maps,
Man Eating Sloth,
It's A Beautiful Day,
Pierre Henry,
Al Stewart,
K-Klass,
Masters at Work,
Skriet,
Larry & the Blue Notes,
The Skatalites,
The Zeros,
Monolake,
The Gladiators,
Shoche,
Freddie Wadling,
Max Romeo,
Aswad,
Soulsonic Force,
Judy Mowatt,
EPMD,
Peter and Kerry,
DNA,
La Düsseldorf,
Althea and Donna,
Faust,
John Holt,
Black Bananas,
The Index,
Kenny Larkin,
Essential Logic,
Index,
Amon Düül II,
Lightning Bolt,
Sam Rivers,
The Saints,
Byron Stingily,
Todd Rundgren,
The Angels of Light,
Camouflage,
Ten City,
Barrington Levy,
Severed Heads,
Soul Sonic Force,
Derrick Morgan,
These Immortal Souls,
Selector Dub Narcotic,
The Happenings,
The Techniques,
Susan Cadogan,
Crispy Ambulance,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.