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 Sri Lanka and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Accra 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the mellotron 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 The Barracudas to the jazz kids.
I played it at the Troubador.
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 Archie Shepp. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Eden Ahbez,
Ponytail,
A Certain Ratio,
Gang Gang Dance,
Frankie Knuckles,
Bobbi Humphrey,
Judy Mowatt,
Soft Cell,
David Axelrod,
The Associates,
Main Source,
Byron Stingily,
Morten Harket,
Faust,
Easy Going,
Von Mondo,
Ronnie Foster,
The Skatalites,
Qualms,
Kenny Larkin,
The Mummies,
Mantronix,
Warsaw,
Lou Christie,
Scratch Acid,
Letta Mbulu,
Grauzone,
Franke,
Danielle Patucci,
Quando Quango,
The Last Poets,
The Beau Brummels,
Desert Stars,
Lou Reed,
Rhythm & Sound,
Dawn Penn,
Hoover,
Michelle Simonal,
CMW,
the Association,
Roxy Music,
Unwound,
The Blackbyrds,
Kerrie Biddell,
The Slackers,
Guru Guru,
Can,
Absolute Body Control,
R.M.O.,
Sun Ra Arkestra,
These Immortal Souls,
Gang Starr,
Lafayette Afro Rock Band,
the Germs,
London Community Gospel Choir,
The Smoke,
Joe Smooth,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.