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 Czech Republic and from Columbus.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Tokyo 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 Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Chris & Cosey 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 Jesper Dahlback. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Essential Logic 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 clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
Oppenheimer Analysis,
Michelle Simonal,
the Germs,
Model 500,
Donny Hathaway,
Quantec,
Marmalade,
Surgeon,
Bootsy's Rubber Band,
Throbbing Gristle,
Anakelly,
Fort Wilson Riot,
Beasts of Bourbon,
Niagra,
Clear Light,
Tres Demented,
Sparks,
Iggy Pop,
Aural Exciters,
Duran Duran,
Flamin' Groovies,
Eve St. Jones,
The Residents,
The Cure,
Boz Scaggs,
Symarip,
ABBA,
The Doobie Brothers,
In Retrospect,
Soft Machine,
Little Man,
Red Lorry Yellow Lorry,
The Blues Magoos,
The Peanut Butter Conspiracy,
Intrusion,
China Crisis,
Amon Düül,
Brothers Johnson,
Angry Samoans,
A Certain Ratio,
Liaisons Dangereuses,
X-102,
Cameo,
Al Stewart,
Avey Tare,
The Five Americans,
Sällskapet,
Arab on Radar,
Kauko Röyhkä ja Narttu,
Lyres,
The Chocolate Watch Band,
Soul Sonic Force,
ABC,
Soulsonic Force,
Sex Pistols,
Pharoah Sanders,
Siglo XX,
Alison Limerick,
The Pop Group,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.