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 Nicaragua and from London.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Manila 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron 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 Silicon Teens to the punk 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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Stockholm Monsters 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Lindisfarne,
Skriet,
Gichy Dan,
Qualms,
Idris Muhammad,
Vladislav Delay,
Hoover,
Derrick Morgan,
Alphaville,
Cameo,
Lizzy Mercier Descloux,
Bang On A Can,
Gastr Del Sol,
The Alarm Clocks,
The Evens,
Ludus,
Big Daddy Kane,
Q and Not U,
48th St. Collective,
Sonny Sharrock,
Pierre Henry,
DNA,
ABC,
X-102,
Black Pus,
The Seeds,
Surgeon,
Faraquet,
Tears for Fears,
The Leaves,
Public Enemy,
Brass Construction,
Kauko Röyhkä ja Narttu,
Organ,
Lou Reed & Metallica,
Sarah Menescal,
Josef K,
Groovy Waters,
Theoretical Girls,
Agitation Free,
The Barracudas,
Agent Orange,
Eden Ahbez,
Oblivians,
Gil Scott Heron,
Lalann,
Amon Düül II,
Erasure,
Boogie Down Productions,
The Moody Blues,
Animal Collective,
Andrew Ashong & Theo Parrish,
A Certain Ratio,
The American Breed,
Fugazi,
The Blues Magoos,
Piero Umiliani,
DeepChord presents Echospace,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.