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 Rwanda and from Stockholm.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar 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 Oppenheimer Analysis to the electroclash kids.
I played it at the 40 Watt.
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 Heavy D & The Boyz. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Hutcherson record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Altered Images,
Section 25,
Andrew Ashong & Theo Parrish,
Dawn Penn,
Fluxion,
Deepchord,
Juan Atkins,
Harmonia,
In Retrospect,
The Flesh Eaters,
Clear Light,
The Sound,
Tom Boy,
Adolescents,
The Doors,
Colin Newman,
The Five Americans,
The United States of America,
Neil Young,
Cybotron,
Q65,
the Bar-Kays,
Icehouse,
Sight & Sound,
U.S. Maple,
Graham Central Station,
Rufus Thomas,
Fat Boys,
Gerry Rafferty,
the Association,
Sly & The Family Stone,
Fatback Band,
The Invisible,
Ossler,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash,
Heaven 17,
Gastr Del Sol,
Delon & Dalcan,
Lalann,
Cymande,
Reagan Youth,
Gil Scott-Heron & Brian Jackson,
Electric Light Orchestra,
Audionom,
Jacques Brel,
The Tremeloes,
Kings Of Tomorrow,
Can,
Massinfluence,
Sonny Sharrock,
Derrick Morgan,
Super Lover Cee & Casanova Rud,
Lungfish,
Curtis Mayfield,
Silicon Teens,
Laurel Aitken,
Nico,
Yellowson,
Joensuu 1685,
Godley & Creme,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.