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 Jordan and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Manchester.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 The Happenings to the disco kids.
I played it at CBGB's.
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 Bang On A Can. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Ronan 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Angry Samoans,
Rhythm & Sound,
The American Breed,
Fluxion,
Electric Light Orchestra,
Underground Resistance,
Banda Bassotti,
Negative Approach,
Saccharine Trust,
The Black Dice,
Gichy Dan,
Bill Near,
R.M.O.,
Peter and Kerry,
Selector Dub Narcotic,
Skriet,
Symarip,
Tropical Tobacco,
Eli Mardock,
The Fire Engines,
John Cale,
The Blues Magoos,
Quadrant,
Jesper Dahlbäck,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
Kayak,
Fear,
Crime,
Ossler,
John Foxx,
Andrew Hill,
Heavy D & The Boyz,
The Saints,
Whodini,
MDC,
Porter Ricks,
Livin' Joy,
Visage,
Kerrie Biddell,
Terry Callier,
Jandek,
Fugazi,
Ultra Naté,
Roger Hodgson,
Henry Cow,
Khruangbin,
Ronnie Foster,
Fatback Band,
Crispian St. Peters,
Dave Gahan,
Scrapy,
The Electric Prunes,
Depeche Mode,
Suburban Knight,
Jeff Lynne,
Swell Maps,
The Standells,
Main Source,
X-102,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.