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 Egypt and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Spokane 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 theremin 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 Skarface to the grime kids.
I played it at the Hacienda.
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 Ultimate Spinach. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal funk 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Scan 7,
Stetsasonic,
Notorious BIG live in Amsterdam,
Charles Mingus,
Marvin Gaye,
L. Decosne,
Von Mondo,
Throbbing Gristle,
E-Dancer,
The Count Five,
Arab on Radar,
Adolescents,
Mars,
Kings Of Tomorrow,
Wire,
Marc Romboy vs. Booka Shade,
Ornette Coleman,
Dennis Brown,
The Young Rascals,
John Lydon,
the Bar-Kays,
Bootsy Collins,
Gong,
The Durutti Column,
The Angels of Light,
Yaz,
New Age Steppers,
Parry Music,
CMW,
Schoolly D,
Archie Shepp,
Steve Hackett,
DJ Style,
Visionaries,LMNO, T- Love & Iriscience,
Minor Threat,
Ronnie Foster,
Visage,
Kenny Larkin,
The Saints,
Mad Mike,
Alton Ellis,
Max Romeo,
Donald Byrd,
The Shadows of Knight,
The Beau Brummels,
Quadrant,
The Pop Group,
The Index,
The Moody Blues,
ABBA,
Pierre Henry,
Judy Mowatt,
Qualms,
The Skatalites,
Lalo Schifrin,
Frankie Knuckles,
Trumans Water,
T. Rex,
The Toasters,
Faraquet,
Magazine,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.