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 Zimbabwe and from Glasgow.
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 Philadelphia and Madrid.
I'm losing my edge to the art-school Salvador 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 1976 at the first Wire practice in a loft in Watford.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Man Parrish to the funk kids.
I played it at CBGB's.
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 Dark Day. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Pylon 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Fear,
The Kinks,
Von Mondo,
Alison Limerick,
Accadde A,
Stockholm Monsters,
The Index,
Bobby Hutcherson,
The Cramps,
June Days,
Eden Ahbez,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
Eric Copeland,
Roger Hodgson,
The Angels of Light,
Bill Near,
Kenny Larkin,
DNA,
The Blues Magoos,
KRS-One,
D'Angelo,
Stereo Dub,
Zero Boys,
Tres Demented,
Joensuu 1685,
A Flock of Seagulls,
the Soft Cell,
The Gories,
Roxy Music,
48th St. Collective,
Robert Wyatt,
Major Organ And The Adding Machine,
Young Marble Giants,
Tears for Fears,
Rotary Connection,
Terry Callier,
Jeff Lynne,
Maleditus Sound,
Alice Coltrane,
Black Sheep,
DeepChord presents Echospace,
Audionom,
Fluxion,
Ultravox,
Bobby Womack,
Al Stewart,
MDC,
Kango’s Stein Massive,
Vladislav Delay,
Echo & the Bunnymen,
The Dead C,
Black Bananas,
Derrick Morgan,
Kevin Saunderson,
Boredoms,
The Victims,
Slave,
Deadbeat,
Procol Harum,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.