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 Lebanon and from Manila.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Paris 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 at the first Suicide practice in a loft in New York.
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 The Victims to the dance 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 Five Americans. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Nirvana 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
EPMD,
The Last Poets,
Oblivians,
Rahsaan Roland Kirk,
Joe Smooth,
Ultramagnetic MC's,
Fluxion,
Animal Collective,
The Blues Magoos,
Wings,
Derrick May,
Tropical Tobacco,
AZ,
Adolescents,
World's Most,
Kurtis Blow,
Tears for Fears,
The Remains,
Gil Scott Heron,
Al Stewart,
Symarip,
Robert Hood,
Grandmaster Flash and the Furious Five,
Byron Stingily,
Nik Kershaw,
Larry & the Blue Notes,
Ossler,
Ludus,
Sexual Harrassment,
Brick,
Funkadelic,
Interpol,
Country Joe & The Fish,
Dave Gahan,
Manfred Mann's Earth Band,
The Mojo Men,
Rotary Connection,
Derrick Morgan,
Eric Dolphy,
Bill Wells,
Cabaret Voltaire,
Marcia Griffiths,
The Young Rascals,
Lonnie Liston Smith,
Babytalk,
The Doobie Brothers,
Blake Baxter,
Country Teasers,
The Red Krayola,
Fat Boys,
Girls At Our Best!,
Maurizio,
Television Personalities,
Stetsasonic,
Throbbing Gristle,
Brand Nubian,
Crispian St. Peters,
Shuggie Otis,
Organ,
Ultravox,
Whodini,
Nirvana,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.