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 Bahamas and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the mellotron 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 Newcleus to the funk kids.
I played it at the Hacienda.
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 John Holt. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Avey Tare 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Sam Rivers,
Judy Mowatt,
The J.B.'s,
Man Eating Sloth,
Byron Stingily,
Rakim,
Erykah Badu,
Glenn Branca,
Gil Scott-Heron & Brian Jackson,
Motorama,
Half Japanese,
Tom Boy,
Juan Atkins,
PIL,
Von Mondo,
Mission of Burma,
Carl Craig,
Lalann,
8 Eyed Spy,
Audionom,
Kerri Chandler,
Larry & the Blue Notes,
The Stooges,
Soul II Soul,
Camouflage,
Lonnie Liston Smith,
Brass Construction,
Loose Ends,
Country Teasers,
Rosa Yemen,
Robert Hood,
Skriet,
Todd Rundgren,
Archie Shepp,
Fluxion,
Amon Düül,
Theoretical Girls,
Faraquet,
Masters at Work,
The Mojo Men,
Derrick Morgan,
ABBA,
Swell Maps,
Roxette,
In Retrospect,
Monks,
Terry Callier,
Outsiders,
Man Parrish,
The Evens,
Scion,
Bang on a Can All-Stars,
Nik Kershaw,
The Happenings,
Interpol,
Marmalade,
Harry Pussy,
Joe Smooth,
Leonard Cohen,
Albert Ayler,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.