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 China and from Manchester.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Alarm Clocks to the disco 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 Erasure. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
T. Rex,
Bill Near,
the Fania All-Stars,
Pantytec,
the Normal,
Silicon Teens,
Vaughan Mason & Crew,
Make Up,
The Misunderstood,
KRS-One,
Angels of Light & Akron/Family,
Nation of Ulysses,
The Motions,
The Cowsills,
Rowland S Howard / Lydia Lunch,
Procol Harum,
Hot Snakes,
Jerry Gold Smith,
Delta 5,
World's Most,
Roxy Music,
Girls At Our Best!,
Guru Guru,
The Velvet Underground,
The Remains,
Gregory Isaacs,
Hardrive,
Bronski Beat,
Zero Boys,
The Standells,
Barry Ungar,
Au Pairs,
Rakim,
Ultravox,
Ituana,
Ultramagnetic MC's,
Eli Mardock,
Maurizio,
Aural Exciters,
Can,
Drive Like Jehu,
Camberwell Now,
Avey Tare's Slasher Flicks,
Marcia Griffiths,
Schoolly D,
the Soft Cell,
New York Dolls,
The Litter,
Richard Hell and the Voidoids,
The Smoke,
Selector Dub Narcotic,
B.T. Express,
Spandau Ballet,
The Wake,
Neu!,
The Durutti Column,
Cecil Taylor,
Alison Limerick,
Liliput,
Scan 7,
Intrusion, Intrusion, Intrusion, Intrusion.
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.