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 Seoul.
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 1978.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Robert Görl to the punk kids.
I played it at Cafe Wha.
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 Cymande. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Ludus,
Little Man,
Supertramp,
Urselle,
Kauko Röyhkä ja Narttu,
Blake Baxter,
Pharaoh Sanders and the Fire Engines,
Kool Moe Dee,
Funkadelic,
Dave Gahan,
Marc Almond,
Sandy B,
Moss Icon,
Index,
The Saints,
Con Funk Shun,
Heavy D & The Boyz,
Robert Görl,
Country Teasers,
Al Stewart,
Intrusion,
Kaleidoscope,
Skaos,
Bobbi Humphrey,
Joensuu 1685,
Robert Wyatt,
Fifty Foot Hose,
The Cramps,
Terrestrial Tones,
Lou Reed,
Jerry Gold Smith,
Susan Cadogan,
World's Most,
D'Angelo,
Ultramagnetic MC's,
Marvin Gaye,
Bill Wells,
Average White Band,
Pantaleimon,
John Foxx,
Massinfluence,
Jimmy McGriff,
Au Pairs,
Jandek,
Brick,
Mary Jane Girls,
Tropical Tobacco,
Lizzy Mercier Descloux,
Simply Red,
Minutemen,
Amazonics,
The Remains,
Minor Threat,
Pharoah Sanders,
Whodini,
Mantronix,
Echospace,
Vaughan Mason & Crew,
Anakelly,
Gil Scott-Heron and Jamie xx,
Blancmange,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.