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 New Zealand and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Bologna.
I'm losing my edge to the art-school Delhi 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 Popol Vuh to the jazz kids.
I played it at the Hacienda.
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 James White and The Blacks. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Todd Rundgren,
Suburban Knight,
Big Daddy Kane,
Tears for Fears,
Von Mondo,
Rufus Thomas,
Blossom Toes,
Spoonie Gee,
Scientists,
Traffic Nightmare,
Fatback Band,
Lou Christie,
The Music Machine,
Grauzone,
Judy Mowatt,
Average White Band,
Deadbeat,
Supertramp,
Bootsy's Rubber Band,
Boogie Down Productions,
Liliput,
Section 25,
Gil Scott-Heron and Jamie xx,
Ultra Naté,
Visage,
Rhythm & Sound,
Derrick May,
Terror Squad Feat. Camron,
Richard Hell and the Voidoids,
In Retrospect,
Index,
Dennis Brown,
The Monochrome Set,
Lucky Dragons,
Zero Boys,
Toni Rubio,
Eurythmics,
Prince Buster,
Alison Limerick,
Minor Threat,
LL Cool J,
Manfred Mann's Earth Band,
Röyhkä ja Rättö ja Lehtisalo,
Fear,
Donald Byrd,
Lungfish,
The Selecter,
Gastr Del Sol,
Duran Duran,
Excepter,
John Holt,
Crooked Eye,
U.S. Maple,
EPMD,
Television Personalities,
Glambeats Corp.,
Barclay James Harvest,
Con Funk Shun,
Fort Wilson Riot,
The Alarm Clocks,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.