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 Armenia and from Calgary.
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 Tokyo.
I'm losing my edge to the art-school Milan 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 Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Public Enemy to the techno 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 The Shadows of Knight. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Marmalade,
Avey Tare & Kría Brekkan,
Maurizio,
Roxette,
Suburban Knight,
Lonnie Liston Smith,
John Coltrane,
Jandek,
The Detroit Cobras,
H. Thieme,
Hashim,
Severed Heads,
The Associates,
Tim Buckley,
Jerry's Kids,
Dave Gahan,
Agitation Free,
The Monochrome Set,
Tres Demented,
Gong,
Ten City,
The Moleskins,
Quantec,
Agent Orange,
Lindisfarne,
Ornette Coleman,
Brass Construction,
Andrew Ashong & Theo Parrish,
John Cale,
Lucky Dragons,
The Index,
The Pop Group,
the Germs,
Tommy Roe,
Lalann,
Max Romeo,
Matthew Bourne,
Kerri Chandler,
Scott Walker,
Gabor Szabo,
Pulsallama,
Electric Light Orchestra,
Ronnie Foster,
June Days,
Organ,
Eric Copeland,
Negative Approach,
Index,
the Fania All-Stars,
The Trojans,
Peter & Gordon,
The Remains,
John Lydon,
Louis and Bebe Barron,
ABBA, ABBA, ABBA, ABBA.
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.