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 Ecuador and from Copenhagen.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Delhi 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 1973 at the first Television practice in a loft in New York.
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 Q and Not U to the rap kids.
I played it at the Roxy.
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 Liliput. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every John Holt 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Evens,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
The Slits,
One Last Wish,
In Retrospect,
Al Stewart,
Rowland S Howard / Lydia Lunch,
Eurythmics,
Alton Ellis,
the Swans,
Outsiders,
Traffic Nightmare,
Tommy Roe,
The Dirtbombs,
Desert Stars,
Super Lover Cee & Casanova Rud,
Yaz,
Derrick Morgan,
Frankie Knuckles,
T.S.O.L.,
Danielle Patucci,
The Index,
Angels of Light & Akron/Family,
Faraquet,
Nick Fraelich,
Arab on Radar,
Warren Ellis,
Marine Girls,
The Blackbyrds,
The Fortunes,
Porter Ricks,
The Tremeloes,
The Cure,
Popol Vuh,
The Alarm Clocks,
Althea and Donna,
Don Cherry,
The Grass Roots,
The Leaves,
Lightning Bolt,
Mr. Review,
Sonny Sharrock,
Sixth Finger,
Massinfluence,
Vaughan Mason & Crew,
Scott Walker + Sunn O))),
Sunsets and Hearts,
Neu!,
The Real Kids,
OOIOO,
The Zeros,
Black Flag,
Moebius,
Pantaleimon,
Tears for Fears,
Suicide,
Junior Murvin,
Animal Collective,
The Peanut Butter Conspiracy,
Sister Nancy,
Yusef Lateef,
Gabor Szabo,
Kas Product, Kas Product, Kas Product, Kas Product.
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.