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 United States and from Tokyo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Alphaville to the techno kids.
I played it at the Astoria.
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 Patti Smith. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
Marmalade,
Spandau Ballet,
Cameo,
Eddi Front,
Oneida,
Stetsasonic,
Don Cherry,
Roy Ayers Ubiquity,
Livin' Joy,
R.M.O.,
Leonard Cohen,
Hoover,
Henry Cow,
Soft Machine,
Mad Mike,
The Cramps,
Gil Scott-Heron & Brian Jackson,
New York Dolls,
the Normal,
Jacques Brel,
Brass Construction,
Steve Hackett,
Fort Wilson Riot,
The Dirtbombs,
AZ,
Strawberry Alarm Clock,
Alice Coltrane,
Excepter,
Deutsch Amerikanische Freundschaft,
Ronan,
Joe Finger,
Avey Tare & Kría Brekkan,
Stockholm Monsters,
Neil Young,
Inner City,
8 Eyed Spy,
Drexciya,
James White and The Blacks,
John Lydon,
The Kinks,
Minutemen,
Vainqueur,
The Divine Comedy,
The Last Poets,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Mary Jane Girls,
New Order,
Electric Prunes,
Wire,
Niagra,
Nik Kershaw,
Television Personalities,
The Techniques,
A Certain Ratio,
Chrome,
MC5,
Rotary Connection,
Sixth Finger,
Kings Of Tomorrow,
Accadde A,
Amon Düül II,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.