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 Cameroon and from Bremen.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Angels of Light & Akron/Family to the disco kids.
I played it at CBGB's.
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 Tomorrow. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Lightning Bolt,
Ajijia Myrayebe,
Depeche Mode,
Sparks,
Pete Rock & C.L. Smooth,
Jesper Dahlbäck,
Delta 5,
Basic Channel,
Maleditus Sound,
Fear,
Graham Central Station,
Wasted Youth,
Kenny Larkin,
Joyce Sims,
Jandek,
The Saints,
The United States of America,
Aural Exciters,
Robert Görl,
Wighnomy Brothers & Robag Wruhme,
Ituana,
Traffic Nightmare,
Kas Product,
Al Stewart,
The Litter,
Tom Boy,
Larry & the Blue Notes,
One Last Wish,
Fifty Foot Hose,
Alton Ellis,
Connie Case,
Clear Light,
Davy DMX,
The Pop Group,
The Stooges,
The Cosmic Jokers,
the Association,
Icehouse,
Von Mondo,
Wire,
The Star Department,
Jerry's Kids,
Soft Machine,
Scott Walker,
The Monks,
The Slits,
Newcleus,
Chris & Cosey,
Roger Hodgson,
Rotary Connection,
De La Soul & Jungle Brothers,
Ten City,
Archie Shepp,
Suicide,
Das Ding,
Thinking Fellers Union Local 282,
Babytalk,
Slave,
Boz Scaggs,
Cybotron,
Supertramp, Supertramp, Supertramp, Supertramp.
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.