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 Lithuania and from Bologna.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Mars to the funk 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Adolescents,
China Crisis,
Warsaw,
A Flock of Seagulls,
Rhythm & Sound,
Arcadia,
The Star Department,
Ultramagnetic MC's,
The Zeros,
Swell Maps,
Nils Olav,
The Flesh Eaters,
Marine Girls,
Clear Light,
The Gladiators,
Fatback Band,
Kas Product,
Selector Dub Narcotic,
Duran Duran,
Nico,
Mo-Dettes,
The Young Rascals,
Boz Scaggs,
Bill Wells,
ABBA,
Rakim,
The Mummies,
Crash Course in Science,
Massinfluence,
K-Klass,
Neil Young,
the Swans,
Art Ensemble Of Chicago,
The New Christs,
The Kinks,
David Axelrod,
Bobbi Humphrey,
U.S. Maple,
The Dead C,
The Doobie Brothers,
The Beau Brummels,
Absolute Body Control,
Rites of Spring,
Interpol,
Neil Young & Crazy Horse,
Lucky Dragons,
Nik Kershaw,
Amazonics,
Skriet,
Brothers Johnson,
The Music Machine,
Circle Jerks,
Spandau Ballet,
David McCallum,
Rosa Yemen,
Avey Tare & Kría Brekkan,
Pussy Galore,
The Victims,
Lou Reed & Metallica,
Archie Shepp,
KRS-One,
the Germs,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.