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 France and from Winnipeg.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Taipei 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Amon Düül to the grunge kids.
I played it at Cafe Wha.
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 Strawberry Alarm Clock. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Lafayette Afro Rock Band,
the Human League,
the Sonics,
The Durutti Column,
Eve St. Jones,
Pharaoh Sanders and the Fire Engines,
Marmalade,
The Gladiators,
Skriet,
The Pop Group,
Sällskapet,
Sun Ra,
X-102,
A Flock of Seagulls,
E-Dancer,
Aswad,
Lyres,
The Gap Band,
The Seeds,
Black Pus,
Second Layer,
Art Ensemble Of Chicago,
Terry Callier,
the Bar-Kays,
Bootsy's Rubber Band,
Can,
Reuben Wilson,
Fatback Band,
Barbara Tucker,
Camberwell Now,
Röyhkä ja Rättö ja Lehtisalo,
Bauhaus,
OOIOO,
The Moleskins,
Simply Red,
Intrusion,
John Holt,
Radiopuhelimet,
Saccharine Trust,
Flamin' Groovies,
Ultravox,
Black Moon,
The Real Kids,
the Association,
Fluxion,
Newcleus,
8 Eyed Spy,
The Toasters,
The Chocolate Watch Band,
Sister Nancy,
Leonard Cohen,
Slave,
Q and Not U,
The Move,
Wire,
Half Japanese,
The Music Machine,
Laurel Aitken,
The Slackers,
The Young Rascals,
Ronan,
Marcia Griffiths,
Roy Ayers Ubiquity,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.