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 Angola and from Paris.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Edmonton 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Radiohead 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 X-101. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Fort Wilson Riot,
The Star Department,
These Immortal Souls,
Barry Ungar,
Scott Walker,
Easy Going,
The Martian,
Nation of Ulysses,
Main Source,
Kenny Larkin,
Ultramagnetic MC's,
Liliput,
Nils Olav,
Hasil Adkins,
Excepter,
Davy DMX,
The Birthday Party,
Ultimate Spinach,
Avey Tare & Kría Brekkan,
Man Parrish,
Spandau Ballet,
Eric B and Rakim,
New York Dolls,
Peter & Gordon,
Juan Atkins,
Audionom,
Roxette,
Hashim,
Spoonie Gee,
MC5,
Mars,
The Red Krayola,
It's A Beautiful Day,
Arthur Verocai,
Gastr Del Sol,
Notorious Big And Bone Thugs,
Byron Stingily,
Grauzone,
Wighnomy Brothers & Robag Wruhme,
Bad Manners,
Mad Mike,
U.S. Maple,
The Cramps,
Man Eating Sloth,
Brick,
Amazonics,
Sister Nancy,
David Axelrod,
the Human League,
Siouxsie and the Banshees,
Vladislav Delay,
Pantaleimon,
Brand Nubian,
The Pop Group,
Frankie Knuckles,
Justin Hinds & The Dominoes,
Darondo,
Sound Behaviour,
The Offenders,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.