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 Tunisia and from Houston.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Beijing and Houston.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Ohio Players to the crunk 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 Roxette. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '90s.
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 Subhumans record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The American Breed,
Visage,
Tears for Fears,
Boogie Down Productions,
Pere Ubu,
John Cale,
Judy Mowatt,
K-Klass,
Minutemen,
The Blues Magoos,
John Holt,
Aaron Thompson,
Liaisons Dangereuses,
Althea and Donna,
Gong,
ABC,
Siouxsie and the Banshees,
Godley & Creme,
Scott Walker,
Surgeon,
Patti Smith,
the Soft Cell,
Bad Manners,
Grauzone,
Vainqueur,
Monolake,
David McCallum,
F. McDonald,
Sad Lovers and Giants,
Robert Wyatt,
Roxette,
Derrick Morgan,
Reagan Youth,
Gastr Del Sol,
Jesper Dahlback,
The Birthday Party,
Lightning Bolt,
Peter & Gordon,
The Tremeloes,
Model 500,
The Techniques,
The Smiths,
Ajijia Myrayebe,
The United States of America,
Bootsy's Rubber Band,
Shoche,
It's A Beautiful Day,
The Alarm Clocks,
Gian Franco Pienzio,
Eric B and Rakim,
Toni Rubio,
Josef K,
June of 44,
Y Pants,
Man Parrish,
Kurtis Blow,
Ornette Coleman,
Barclay James Harvest,
Bang On A Can,
Essential Logic,
Pole,
Cymande, Cymande, Cymande, Cymande.
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.