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 Spain 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 1969 to 1975.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Tehran 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Desert Stars to the jazz kids.
I played it at Trash.
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 Public Enemy. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal rock 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Camberwell Now,
Gil Scott-Heron and Jamie xx,
Fat Boys,
Jerry's Kids,
Young Marble Giants,
Swans,
Amon Düül,
Q65,
Mantronix,
Electric Prunes,
Black Moon,
Pete Rock & C.L. Smooth,
Derrick May,
Amon Düül II,
Japan,
the Germs,
Avey Tare's Slasher Flicks,
Maurizio,
Eyeless In Gaza,
De La Soul & Jungle Brothers,
Sight & Sound,
Dorothy Ashby,
Soul Sonic Force,
Warren Ellis,
Talk Talk,
Jawbox,
The Stooges,
Moss Icon,
L. Decosne,
Fifty Foot Hose,
Justin Hinds & The Dominoes,
Peter Gordon & Love of Life Orchestra,
Connie Case,
The Fuzztones,
New Age Steppers,
Marc Romboy vs. Booka Shade,
The Leaves,
The Shadows of Knight,
The Raincoats,
Jacques Brel,
Wings,
Monolake,
Parry Music,
Harpers Bizarre,
Aswad,
Suburban Knight,
Ultimate Spinach,
Mo-Dettes,
Cal Tjader,
The Moleskins,
The Slackers,
Kas Product,
Brick,
Super Lover Cee & Casanova Rud,
Ponytail,
Lebanon Hanover,
The Chocolate Watch Band,
Tom Boy,
Blancmange,
Alison Limerick,
Ultravox,
The Fortunes,
The United States of America, The United States of America, The United States of America, The United States of America.
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.