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 Manchester.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 Jeff Lynne to the jazz kids.
I played it at the Roxy.
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 The Stooges. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Warren Ellis 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Pagans,
Quando Quango,
Tears for Fears,
Black Moon,
Prince Buster,
Chris & Cosey,
The Star Department,
Monolake,
Warsaw,
Smog,
Gil Scott Heron,
Ultramagnetic MC's,
Eric Dolphy,
Siouxsie and the Banshees,
Black Bananas,
Can,
Spoonie Gee,
Bluetip,
Swans,
Scott Walker,
Pulsallama,
Kaleidoscope,
Bang On A Can,
David Bowie,
Tomorrow,
Flipper,
Brass Construction,
Cybotron,
Yellowson,
Aloha Tigers,
Ralphi Rosario,
Erasure,
Andrew Hill,
Shuggie Otis,
Avey Tare,
Scan 7,
Excepter,
Slick Rick,
Alton Ellis,
The Techniques,
Motorama,
The Blues Magoos,
Loose Ends,
Rosa Yemen,
A Certain Ratio,
Metal Thangz,
The Monks,
Judy Mowatt,
H. Thieme,
Arcadia,
Traffic Nightmare,
The Gun Club,
Big Daddy Kane,
Theoretical Girls,
The Buckinghams,
The Men They Couldn't Hang,
Babytalk,
Masters at Work,
Mantronix,
Parry Music,
Tommy Roe,
Wighnomy Brothers & Robag Wruhme,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.