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 Sri Lanka and from Bologna.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Lille 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 güiro 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 Ten City to the grime kids.
I played it at the Hacienda.
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 Jimmy McGriff. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every DNA 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. 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?
Echo & the Bunnymen,
Crash Course in Science,
Matthew Bourne,
Captain Beefheart & His Magic Band,
a-ha,
Josef K,
Lizzy Mercier Descloux,
Althea and Donna,
The Standells,
Model 500,
Soul II Soul,
Fluxion,
Nik Kershaw,
Simply Red,
ABBA,
Mars,
Dual Sessions,
The Durutti Column,
Nick Cave & The Bad Seeds,
Fad Gadget,
Mark Hollis,
Eric B and Rakim,
Flamin' Groovies,
Barry Ungar,
Erasure,
The Vogues,
Gang of Four,
The Walker Brothers,
Joy Division,
Shoche,
The Men They Couldn't Hang,
Robert Hood,
Visionaries,LMNO, T- Love & Iriscience,
Pharaoh Sanders and the Fire Engines,
OOIOO,
La Düsseldorf,
Roxy Music,
Slave,
Deakin,
Absolute Body Control,
Soft Machine,
Barbara Tucker,
Anthony Braxton,
A Certain Ratio,
Erykah Badu,
Eric Copeland,
Juan Atkins,
Easy Going,
Bobby Hutcherson,
Ronan,
T.S.O.L.,
Don Cherry,
Chris & Cosey,
Yusef Lateef,
Zero Boys,
Sandy B,
Arthur Verocai,
Delta 5,
Icehouse,
Michelle Simonal,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.