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 Belize and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1977.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Gang Starr to the punk 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 EPMD. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Excepter,
Neu!,
The Smoke,
Icehouse,
Sarah Menescal,
The Tremeloes,
Lizzy Mercier Descloux,
The Mummies,
The Fall,
DJ Style,
KRS-One,
Joe Smooth,
Dark Day,
Visionaries,LMNO, T- Love & Iriscience,
Davy DMX,
Electric Light Orchestra,
Jacques Brel,
Q and Not U,
Joe Finger,
The Evens,
Kool Moe Dee,
Quantec,
Bizarre Inc.,
48th St. Collective,
Public Image Ltd.,
Marcia Griffiths,
Delta 5,
Matthew Halsall,
The Detroit Cobras,
cv313,
Sam Rivers,
Brass Construction,
Wally Richardson,
Amon Düül II,
The Motions,
Bootsy Collins,
Soft Cell,
Amazonics,
Bronski Beat,
Andrew Hill,
Sugar Minott,
David McCallum,
Gang Green,
The Peanut Butter Conspiracy,
UT,
The New Christs,
Avey Tare & Kría Brekkan,
Mandrill,
Isaac Hayes,
Mark Hollis,
Peter & Gordon,
The Slackers,
Silicon Teens,
The Chocolate Watch Band,
The Fuzztones,
Negative Approach,
Sex Pistols,
The Men They Couldn't Hang,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.