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 Yemen and from Paris.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Seoul 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro 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 Avey Tare & Kría Brekkan to the rock kids.
I played it at the Astoria.
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 Public Enemy. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Colin Newman 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Mo-Dettes,
Unwound,
The Vogues,
Easy Going,
Deutsch Amerikanische Freundschaft,
Jeru the Damaja,
Oneida,
Man Eating Sloth,
The Young Rascals,
Siglo XX,
Howard Jones,
Loose Ends,
Gichy Dan,
Harmonia,
Radiohead,
Zapp,
Fugazi,
Ten City,
Cal Tjader,
China Crisis,
Jesper Dahlback,
Niagra,
Gil Scott Heron,
Mars,
Fad Gadget,
Jeff Lynne,
The Cosmic Jokers,
Drive Like Jehu,
The Slackers,
Peter and Kerry,
Smog,
John Lydon,
James Chance & The Contortions,
The Zeros,
Bobbi Humphrey,
Sad Lovers and Giants,
Agent Orange,
The Cowsills,
Von Mondo,
Absolute Body Control,
Todd Rundgren,
Robert Hood,
Arab on Radar,
Ultravox,
Supertramp,
R.M.O.,
Vaughan Mason & Crew,
Oppenheimer Analysis,
The Dave Clark Five,
Kas Product,
Soul II Soul,
Hasil Adkins,
Symarip,
Eden Ahbez,
Pylon,
Youth Brigade,
Black Bananas,
Procol Harum,
Suburban Knight,
Prince Buster,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.