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 Rwanda 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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Amazonics to the punk kids.
I played it at the Spitz.
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 Bill Wells. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
The Names,
LL Cool J,
Lou Reed,
Index,
the Soft Cell,
Sam Rivers,
Ken Boothe,
Harpers Bizarre,
Von Mondo,
Henry Cow,
Nick Cave & The Bad Seeds,
Judy Mowatt,
Alton Ellis,
Bush Tetras,
Letta Mbulu,
The Buckinghams,
E-Dancer,
Sparks,
Brothers Johnson,
Minutemen,
Rotary Connection,
Sällskapet,
Tres Demented,
The Gories,
Average White Band,
Fad Gadget,
Icehouse,
Kerrie Biddell,
Nation of Ulysses,
Blancmange,
Richard Hell and the Voidoids,
Jeru the Damaja,
De La Soul & Jungle Brothers,
The Mummies,
Alison Limerick,
Dr. Dre and Snoop Doggy Dog,
Quadrant,
London Community Gospel Choir,
Albert Ayler,
Ultra Naté,
The Moody Blues,
Lou Reed & Metallica,
Agent Orange,
Notorious BIG live in Amsterdam,
Infiniti,
Radio Birdman,
Yaz,
The Young Rascals,
The Fall,
Intrusion,
Trumans Water,
Yazoo,
48th St. Collective,
The Sisters of Mercy,
Althea and Donna,
Faust,
The Modern Lovers,
Oneida,
Scott Walker,
Audionom,
The Beau Brummels,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.