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 Latvia and from Copenhagen.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Manila.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Niagra to the funk 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 Icehouse. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal electroclash 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 a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
The Mummies,
Robert Wyatt,
AZ,
Anakelly,
R.M.O.,
Yaz,
D'Angelo,
Moss Icon,
Gong,
Toni Rubio,
Heavy D & The Boyz,
Curtis Mayfield,
the Bar-Kays,
The Misunderstood,
Qualms,
Fort Wilson Riot,
John Cale,
Rites of Spring,
The Index,
Röyhkä ja Rättö ja Lehtisalo,
Lou Christie,
Lafayette Afro Rock Band,
Spandau Ballet,
Pole,
Bobbi Humphrey,
Jacob Miller,
World's Most,
Warren Ellis,
the Fania All-Stars,
Bluetip,
Iggy Pop,
DJ Style,
Basic Channel,
Circle Jerks,
Barrington Levy,
Sam Rivers,
Wasted Youth,
ABBA,
The Black Dice,
Arthur Verocai,
Gil Scott-Heron and Jamie xx,
Warsaw,
Soft Machine,
Flash Fearless,
Cameo,
Ronan,
Terrestrial Tones,
Nils Olav,
Marcia Griffiths,
Monks,
The Last Poets,
Bootsy Collins,
Excepter,
Prince Buster,
The American Breed,
Morten Harket,
Bauhaus,
The Gories,
Q65,
Khruangbin,
The Pop Group,
Sandy B, Sandy B, Sandy B, Sandy B.
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.