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 Nepal and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Lindisfarne to the grime 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 Lindisfarne. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Faust 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Das Ding,
Kauko Röyhkä ja Narttu,
Schoolly D,
Colin Newman,
Aural Exciters,
Strawberry Alarm Clock,
The Human League,
Chris & Cosey,
The Gap Band,
The Smoke,
Ponytail,
Model 500,
Grandmaster Flash and the Furious Five,
Jerry Gold Smith,
U.S. Maple,
The Mummies,
Nick Cave & The Bad Seeds,
Quadrant,
The Five Americans,
Stiv Bators,
Pantytec,
Nation of Ulysses,
Icehouse,
The Searchers,
Brass Construction,
Man Parrish,
Prince Buster,
The Peanut Butter Conspiracy,
Minor Threat,
Section 25,
Jeff Mills,
MC5,
Youth Brigade,
Pylon,
Half Japanese,
Bobby Hutcherson,
the Human League,
The Grass Roots,
Red Lorry Yellow Lorry,
Suburban Knight,
Japan,
The Barracudas,
Rakim,
Little Man,
Public Image Ltd.,
Con Funk Shun,
Lucky Dragons,
Unrelated Segments,
John Coltrane,
Dennis Brown,
Scott Walker,
Arcadia,
Lizzy Mercier Descloux,
Reuben Wilson,
Derrick May,
Negative Approach,
Eddi Front,
Funkadelic,
Scion,
Rapeman, Rapeman, Rapeman, Rapeman.
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.