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 Bahrain 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 1962 to 1970.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Portland 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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Cluster to the grime kids.
I played it at Trash.
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 The Sound. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Steve Hackett record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
DeepChord presents Echospace,
Bobbi Humphrey,
London Community Gospel Choir,
Sunsets and Hearts,
Roger Hodgson,
Reagan Youth,
Colin Newman,
Jeru the Damaja,
Al Stewart,
Altered Images,
Fela Kuti,
Sad Lovers and Giants,
Joyce Sims,
Zero Boys,
The West Coast Pop Art Experimental Band,
Ultra Naté,
Fear,
Justin Hinds & The Dominoes,
Tubeway Army,
Scientists,
Excepter,
Kenny Larkin,
Bizarre Inc.,
Stereo Dub,
John Coltrane,
James White and The Blacks,
Lalann,
Blancmange,
48th St. Collective,
Basic Channel,
The American Breed,
Pantytec,
Outsiders,
Minor Threat,
The Leaves,
Visionaries,LMNO, T- Love & Iriscience,
Mark Hollis,
Alice Coltrane,
Pere Ubu,
Traffic Nightmare,
Magma,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
B.T. Express,
Slick Rick,
Radio Birdman,
Charles Mingus,
Harpers Bizarre,
Terry Callier,
These Immortal Souls,
Unwound,
Kayak,
Grey Daturas,
Todd Rundgren,
Interpol,
Gabor Szabo,
Jerry Gold Smith,
Trumans Water,
Shuggie Otis,
The Blues Magoos,
The Count Five,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.