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 Grenada and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Visage to the grunge kids.
I played it at the Crocodile.
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 Susan Cadogan. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Lalo Schifrin,
Frankie Knuckles,
The Gun Club,
Fat Boys,
Au Pairs,
The Divine Comedy,
CMW,
Heaven 17,
EPMD,
Loose Ends,
Richard Hell and the Voidoids,
Black Flag,
Gil Scott-Heron and Jamie xx,
Aural Exciters,
Gil Scott Heron,
The Slits,
Avey Tare,
The Fuzztones,
Bootsy's Rubber Band,
Magma,
The Sisters of Mercy,
Schoolly D,
a-ha,
Echospace,
Mandrill,
Mark Hollis,
Pantaleimon,
Joy Division,
Minny Pops,
Yellowson,
Dual Sessions,
These Immortal Souls,
The J.B.'s,
AZ,
Scott Walker + Sunn O))),
Nation of Ulysses,
Brass Construction,
New York Dolls,
Brick,
Alton Ellis,
Essential Logic,
Flash Fearless,
Grandmaster Flash,
Janne Schatter,
Flipper,
Newcleus,
Max Romeo,
B.T. Express,
Trumans Water,
The Litter,
Agent Orange,
Pharoah Sanders,
Faraquet,
Dorothy Ashby,
Liaisons Dangereuses,
Kaleidoscope,
Scientists,
Liliput,
Procol Harum,
Sex Pistols,
Bad Manners,
Slave, Slave, Slave, Slave.
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.