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 Azerbaijan and from Madrid.
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 Taipei and Spokane.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Robert Görl to the grime kids.
I played it at the Roxy.
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 the Human League. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Neil Young & Crazy Horse 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Toni Rubio,
Lee Hazlewood,
T.S.O.L.,
Chrome,
Marmalade,
Easy Going,
Ultimate Spinach,
Electric Light Orchestra,
Ultravox,
These Immortal Souls,
Minnie Riperton,
Theoretical Girls,
Tom Boy,
Eric B and Rakim,
Rhythm & Sound,
The Detroit Cobras,
The Litter,
The Associates,
Roy Ayers Ubiquity,
Oppenheimer Analysis,
The Doors,
Gil Scott-Heron & Brian Jackson,
X-Ray Spex,
Public Image Ltd.,
Dawn Penn,
Andrew Ashong & Theo Parrish,
Roxy Music,
Angry Samoans,
Ronnie Foster,
Eurythmics,
Moss Icon,
Jimmy McGriff,
Pierre Henry,
Connie Case,
Khruangbin,
Lungfish,
Eden Ahbez,
Flipper,
Hot Snakes,
Henry Cow,
E-Dancer,
June of 44,
John Foxx,
Aloha Tigers,
Pete Rock & C.L. Smooth,
Alison Limerick,
Scion,
Leonard Cohen,
T. Rex,
Arcadia,
John Cale,
Kevin Saunderson,
La Düsseldorf,
The Dirtbombs,
The Skatalites,
Wally Richardson,
Rekid,
Suburban Knight,
Skriet,
Maleditus Sound,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.