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 Argentina and from Cairo.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Lyon 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Derrick May to the grunge kids.
I played it at the Astoria.
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 Alison Limerick. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every The Divine Comedy 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pagans record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Motorama,
Yellowson,
The Litter,
Eric Dolphy,
Blake Baxter,
Nik Kershaw,
Bobby Byrd,
Agent Orange,
Duran Duran,
Godley & Creme,
Bluetip,
Franke,
Scrapy,
Arcadia,
Barrington Levy,
The Doors,
Juan Atkins,
Cal Tjader,
The Techniques,
Dave Gahan,
The Move,
Marc Romboy vs. Booka Shade,
The Seeds,
Siouxsie and the Banshees,
Panda Bear,
Thinking Fellers Union Local 282,
Roy Ayers Ubiquity,
AZ,
Saccharine Trust,
The Smoke,
Mission of Burma,
Wings,
Larry & the Blue Notes,
Sun City Girls,
Camberwell Now,
Eurythmics,
Quando Quango,
Ohio Players,
Ornette Coleman,
Tomorrow,
Zero Boys,
Animal Collective,
KRS-One,
the Sonics,
Make Up,
Black Moon,
The Alarm Clocks,
Q and Not U,
Sonny Sharrock,
The Toasters,
Eli Mardock,
Robert Wyatt,
Letta Mbulu,
Ajijia Myrayebe,
The Residents,
Bob Dylan,
D'Angelo,
The Monks,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.