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 Niger and from Johannesburg.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Toronto 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 808 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 Excepter to the jazz 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 The Monochrome Set. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin 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 Seeds,
Buzzcocks,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
Jesper Dahlbäck,
Public Image Ltd.,
kango's stein massive,
Yazoo,
Delon & Dalcan,
Soulsonic Force,
Amon Düül,
Panda Bear,
One Last Wish,
MDC,
Captain Beefheart & His Magic Band,
The Mighty Diamonds,
Man Eating Sloth,
Colin Newman,
Q and Not U,
Gian Franco Pienzio,
Matthew Bourne,
Unrelated Segments,
Marshall Jefferson,
Camberwell Now,
Ultravox,
Alphaville,
Section 25,
Trumans Water,
Saccharine Trust,
Rekid,
Pierre Henry,
Kauko Röyhkä ja Narttu,
Junior Murvin,
Juan Atkins,
Nils Olav,
Alice Coltrane,
Gabor Szabo,
The West Coast Pop Art Experimental Band,
Swans,
Todd Rundgren,
Eden Ahbez,
Black Pus,
Avey Tare,
The Victims,
The Blackbyrds,
Cybotron,
Alison Limerick,
Alton Ellis,
Main Source,
Brick,
Peter and Kerry,
Altered Images,
The Evens,
Sonny Sharrock,
The Peanut Butter Conspiracy,
The Mojo Men,
Donald Byrd,
London Community Gospel Choir,
Hoover,
The Neon Judgement,
Rod Modell,
Cluster,
Ronnie Foster,
The Techniques, The Techniques, The Techniques, The Techniques.
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.