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 Colombia and from Tehran.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Aural Exciters to the dance kids.
I played it at the Roxy.
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 Alison Limerick. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Sun Ra Arkestra,
Sonic Youth,
Strawberry Alarm Clock,
Bizarre Inc.,
Suburban Knight,
Symarip,
U.S. Maple,
Barclay James Harvest,
Ultravox,
The Tremeloes,
48th St. Collective,
Skaos,
K-Klass,
Flipper,
Eyeless In Gaza,
kango's stein massive,
London Community Gospel Choir,
Kevin Saunderson,
Bobby Womack,
Leonard Cohen,
Jerry Gold Smith,
Crooked Eye,
Little Man,
the Human League,
Terrestrial Tones,
LL Cool J,
The Selecter,
Dead Boys,
Kerrie Biddell,
Marshall Jefferson,
The Remains,
The Young Rascals,
Moebius,
Lonnie Liston Smith,
Lindisfarne,
The Slackers,
Rosa Yemen,
Inner City,
10cc,
Siouxsie and the Banshees,
Loose Ends,
the Association,
The Motions,
The Dirtbombs,
Roger Hodgson,
The Techniques,
Suicide,
The Jesus and Mary Chain,
Slick Rick,
Television,
Cal Tjader,
Rekid,
Fugazi,
Depeche Mode,
The Doobie Brothers,
Heaven 17,
Urselle,
Negative Approach,
Monks, Monks, Monks, Monks.
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.