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 Afghanistan and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1974.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 Rosa Yemen to the grunge kids.
I played it at the 40 Watt.
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 Ornette Coleman. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Avey Tare,
Jerry Gold Smith,
The Victims,
Electric Prunes,
Rufus Thomas,
The Index,
Can,
Spandau Ballet,
Grey Daturas,
Fifty Foot Hose,
Terrestrial Tones,
the Association,
The Saints,
The Cowsills,
Heaven 17,
June of 44,
Bizarre Inc.,
The Royal Family And The Poor,
Oblivians,
Wings,
Todd Rundgren,
PIL,
The Mojo Men,
Swell Maps,
Barclay James Harvest,
Q and Not U,
Hardrive,
Jawbox,
Alison Limerick,
Max Romeo,
Cybotron,
Erykah Badu,
Lizzy Mercier Descloux,
Boz Scaggs,
Morten Harket,
Roy Ayers,
the Soft Cell,
Notorious Big And Bone Thugs,
Sonny Sharrock,
Roy Ayers Ubiquity,
The Five Americans,
Eric Copeland,
Grandmaster Flash and the Furious Five,
The Offenders,
Unwound,
Piero Umiliani,
Niagra,
Talk Talk,
N.O.R.E. Featuring Pharrell,
Yazoo,
Wasted Youth,
Barry Ungar,
Moss Icon,
Dual Sessions,
The Velvet Underground,
Banda Bassotti,
Brand Nubian,
Audionom,
Aswad,
Selector Dub Narcotic,
UT,
Super Lover Cee & Casanova Rud,
The Residents, The Residents, The Residents, The Residents.
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.