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 Nigeria and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Moebius to the jazz kids.
I played it at the Troubador.
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 Man Parrish. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Ken Boothe 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 '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Harpers Bizarre,
Marshall Jefferson,
Joe Finger,
Gang of Four,
The Dave Clark Five,
The Chocolate Watch Band,
Unrelated Segments,
Joe Smooth,
Hoover,
Jesper Dahlbäck,
Half Japanese,
Suburban Knight,
Little Man,
Soulsonic Force,
Pagans,
Nils Olav,
The Red Krayola,
Graham Central Station,
Deepchord,
Pet Shop Boys,
Orchestral Manoeuvres in the Dark,
Sällskapet,
Lyres,
One Last Wish,
a-ha,
Amon Düül,
Gil Scott-Heron and Jamie xx,
Ten City,
Alison Limerick,
Shuggie Otis,
Henry Cow,
Deakin,
London Community Gospel Choir,
Toni Rubio,
Motorama,
OOIOO,
L. Decosne,
Sam Rivers,
Wings,
Nik Kershaw,
R.M.O.,
Lee Hazlewood,
Faraquet,
Crime,
John Holt,
Mad Mike,
Trumans Water,
Reagan Youth,
Al Stewart,
Tim Buckley,
Visage,
Lou Reed,
Cecil Taylor,
Thinking Fellers Union Local 282,
Liaisons Dangereuses,
The Slackers,
Electric Prunes,
Gil Scott Heron,
Lizzy Mercier Descloux,
David Axelrod,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.