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 Manchester.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 clarinet 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 The Alarm Clocks to the grunge 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 Mandrill. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Association 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?
Cecil Taylor,
Audionom,
Mars,
Lungfish,
Sex Pistols,
Alton Ellis,
Big Daddy Kane,
Alphaville,
Sad Lovers and Giants,
Kurtis Blow,
Q and Not U,
La Düsseldorf,
Robert Hood,
Bang On A Can,
Moss Icon,
Roy Ayers,
ABBA,
Justin Hinds & The Dominoes,
Scientists,
Leonard Cohen,
a-ha,
The Fire Engines,
Siglo XX,
Panda Bear,
The Chocolate Watch Band,
Röyhkä ja Rättö ja Lehtisalo,
Visage,
Ponytail,
The Divine Comedy,
Bootsy Collins,
Harmonia,
Sam Rivers,
Crime,
Rowland S Howard / Lydia Lunch,
Arab on Radar,
The Motions,
Altered Images,
Laurel Aitken,
Maurizio,
David McCallum,
the Fania All-Stars,
N.O.R.E. Featuring Pharrell,
Flamin' Groovies,
KRS-One,
Bobby Womack,
Camberwell Now,
James White and The Blacks,
Jesper Dahlbäck,
Crispian St. Peters,
JFA,
Swans,
Shuggie Otis,
Angry Samoans,
The Golliwogs,
The Gap Band,
Max Romeo,
The Evens,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.