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 Trinidad & Tobago and from Philadelphia.
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 1973.
I'm losing my edge.
To all the kids in Lille and Cairo.
I'm losing my edge to the art-school Bologna 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 Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Lonnie Liston Smith to the grunge 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 Gary Puckett & The Union Gap. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Fatback Band 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Pulsallama,
Sam Rivers,
Röyhkä ja Rättö ja Lehtisalo,
Cecil Taylor,
Avey Tare's Slasher Flicks,
FM Einheit,
These Immortal Souls,
Kerrie Biddell,
Faraquet,
The West Coast Pop Art Experimental Band,
Jeff Mills,
Alphaville,
Sällskapet,
Q65,
Metal Thangz,
Morten Harket,
Maleditus Sound,
Throbbing Gristle,
The Happenings,
Rod Modell,
Rakim,
Interpol,
the Association,
D'Angelo,
Absolute Body Control,
Arab on Radar,
Lower 48,
a-ha,
Ornette Coleman,
The Birthday Party,
Sister Nancy,
Ronan,
Siglo XX,
Be Bop Deluxe,
Judy Mowatt,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
Flipper,
The Sound,
Ten City,
Byron Stingily,
Michelle Simonal,
Electric Prunes,
Harry Pussy,
Oppenheimer Analysis,
Mad Mike,
Bootsy Collins,
Barbara Tucker,
JFA,
The Martian,
Zero Boys,
Audionom,
Electric Light Orchestra,
Monks,
Gary Puckett & The Union Gap,
The Doors,
Donny Hathaway,
Infiniti,
Jesper Dahlback,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.