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 Kenya and from Johannesburg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 T.S.O.L. to the disco kids.
I played it at the 40 Watt.
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 Sonics. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Black Bananas,
Nirvana,
Heavy D & The Boyz,
Al Stewart,
Roy Ayers,
Grandmaster Flash and the Furious Five,
The Saints,
These Immortal Souls,
Rod Modell,
Amon Düül II,
Ohio Players,
Theoretical Girls,
Arthur Verocai,
Erasure,
The Move,
Porter Ricks,
Little Man,
The New Christs,
Aural Exciters,
Radio Birdman,
Metal Thangz,
Brand Nubian,
Agent Orange,
Joe Smooth,
Grandmaster Flash,
Quando Quango,
Maleditus Sound,
Louis and Bebe Barron,
The Slackers,
Kevin Saunderson,
Siouxsie and the Banshees,
Jawbox,
Charles Mingus,
The Doobie Brothers,
Fugazi,
Lightning Bolt,
Royal Trux,
Pere Ubu,
Juan Atkins,
Sarah Menescal,
Hot Snakes,
This Heat,
Television Personalities,
Black Pus,
Manfred Mann's Earth Band,
Major Organ And The Adding Machine,
Lebanon Hanover,
OOIOO,
Urselle,
Thompson Twins,
Absolute Body Control,
Agitation Free,
Albert Ayler,
Oppenheimer Analysis,
Eden Ahbez,
Prince Buster,
Echospace,
Eric Dolphy,
Heaven 17,
Sun Ra Arkestra,
The Music Machine,
The Happenings,
Selector Dub Narcotic,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.