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 Sweden and from Columbus.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Laurel Aitken to the jazz 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 Faust. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Soft Machine 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 '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
the Germs,
Alice Coltrane,
Kerri Chandler,
Jesper Dahlback,
Agitation Free,
This Heat,
Wally Richardson,
Gichy Dan,
Anakelly,
Masters at Work,
Rowland S Howard / Lydia Lunch,
Delta 5,
Michelle Simonal,
Eve St. Jones,
The Flesh Eaters,
Kings Of Tomorrow,
Boz Scaggs,
The Gap Band,
Organ,
Graham Central Station,
Mo-Dettes,
The Techniques,
Rakim,
Fela Kuti,
Quadrant,
Hot Snakes,
The Cosmic Jokers,
Cymande,
Dennis Brown,
Lower 48,
Peter and Kerry,
The Zeros,
Country Teasers,
Jesper Dahlbäck,
Roger Hodgson,
Bush Tetras,
Barry Ungar,
Barrington Levy,
Vainqueur,
The Golliwogs,
The Cowsills,
Patti Smith,
Interpol,
Main Source,
Electric Prunes,
Tom Boy,
Marc Romboy vs. Booka Shade,
H. Thieme,
Joy Division,
Ralphi Rosario,
Drive Like Jehu,
Oblivians,
Essential Logic,
Fugazi,
Angels of Light & Akron/Family,
Ken Boothe,
Lee Hazlewood,
The West Coast Pop Art Experimental Band,
Chris & Cosey,
Pete Rock & C.L. Smooth,
The Five Americans,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.