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 Russia and from Toronto.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Mexico City 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Arthur Verocai to the rap kids.
I played it at Cafe Wha.
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 The Dead C. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Monks,
Grandmaster Flash,
Porter Ricks,
Moby Grape,
Aaron Thompson,
Jerry Gold Smith,
Sly & The Family Stone,
Pantytec,
Orchestral Manoeuvres in the Dark,
Make Up,
Pulsallama,
World's Most,
Bill Wells,
Fatback Band,
Bizarre Inc.,
kango's stein massive,
Qualms,
The Grass Roots,
Avey Tare & Kría Brekkan,
The Gun Club,
Trumans Water,
The Smiths,
Sexual Harrassment,
FM Einheit,
Von Mondo,
The Monochrome Set,
Cecil Taylor,
Rapeman,
Strawberry Alarm Clock,
Robert Wyatt,
Flamin' Groovies,
Liliput,
Lou Reed & Metallica,
Desert Stars,
John Lydon,
JFA,
Mr. Review,
Section 25,
Nik Kershaw,
Adolescents,
Boogie Down Productions,
Fugazi,
Robert Görl,
Outsiders,
Max Romeo,
Manfred Mann's Earth Band,
Peter Gordon & Love of Life Orchestra,
Ralphi Rosario,
The Invisible,
Joey Negro,
Pharoah Sanders,
Jacob Miller,
The Wake,
the Slits,
Roy Ayers Ubiquity,
It's A Beautiful Day,
Gichy Dan,
Model 500, Model 500, Model 500, Model 500.
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.