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 Uganda and from Lagos.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Cairo 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 Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Babytalk to the dance kids.
I played it at the Astoria.
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 Evens. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum 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?
Chrome,
Y Pants,
Kings Of Tomorrow,
Kurtis Blow,
Maleditus Sound,
Brass Construction,
Notorious BIG live in Amsterdam,
Black Pus,
Joe Smooth,
Parry Music,
The Raincoats,
Tropical Tobacco,
PIL,
Siouxsie and the Banshees,
Rhythm & Sound,
Lakeside,
Lou Reed,
Bootsy Collins,
Idris Muhammad,
Make Up,
Ohio Players,
Minnie Riperton,
Masters at Work,
Ornette Coleman,
Sight & Sound,
Cal Tjader,
Captain Beefheart & His Magic Band,
Yaz,
The Fuzztones,
Lizzy Mercier Descloux,
Rotary Connection,
Mr. Review,
Lyres,
Yazoo,
Hashim,
Soft Cell,
Black Flag,
the Fania All-Stars,
Crispy Ambulance,
Tres Demented,
Davy DMX,
Blake Baxter,
Jeru the Damaja,
The Standells,
cv313,
Lindisfarne,
Severed Heads,
Flipper,
Kayak,
Aural Exciters,
KRS-One,
Leonard Cohen,
Outsiders,
Traffic Nightmare,
Eli Mardock,
Nils Olav,
The Gladiators,
Henry Cow,
Fort Wilson Riot,
Delta 5,
Maurizio, Maurizio, Maurizio, Maurizio.
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.