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 Samoa and from Seoul.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
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 1976 at the first Feelies practice in a loft in Haledon.
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 Soft Machine to the crunk 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 Cal Tjader. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal grime 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange 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?
New York Dolls,
Minny Pops,
Slick Rick,
Aural Exciters,
Alice Coltrane,
Procol Harum,
Janne Schatter,
Eve St. Jones,
Ken Boothe,
Model 500,
The Dirtbombs,
Massinfluence,
Godley & Creme,
Buzzcocks,
Dark Day,
Roy Ayers,
Glambeats Corp.,
R.M.O.,
Kevin Saunderson,
Fifty Foot Hose,
Lightning Bolt,
Larry & the Blue Notes,
Jesper Dahlback,
Spandau Ballet,
Danielle Patucci,
Black Bananas,
The Flesh Eaters,
The United States of America,
Warren Ellis,
Soul Sonic Force,
The Mighty Diamonds,
La Düsseldorf,
Lalann,
Swans,
Amon Düül,
Popol Vuh,
Bobby Byrd,
The Gun Club,
Q and Not U,
Dawn Penn,
Masters at Work,
Eurythmics,
Intrusion,
Sam Rivers,
Cameo,
Cybotron,
Roy Ayers Ubiquity,
The Young Rascals,
DJ Sneak,
The Royal Family And The Poor,
H. Thieme,
Brass Construction,
E-Dancer,
Bang on a Can All-Stars,
Unrelated Segments,
Yellowson,
Warsaw,
Connie Case,
Black Pus,
DeepChord presents Echospace,
Super Lover Cee & Casanova Rud,
Aloha Tigers,
Brick,
Bobby Womack,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.