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 Estonia and from Shanghai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Shanghai 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 linndrum 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 Prince Buster to the techno kids.
I played it at the Crocodile.
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 Normal. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Ten City,
Todd Terry,
Be Bop Deluxe,
Parry Music,
a-ha,
Lightning Bolt,
Easy Going,
The Count Five,
Louis and Bebe Barron,
Symarip,
Interpol,
Lizzy Mercier Descloux,
Nik Kershaw,
The Fugs,
Laurel Aitken,
Peter and Kerry,
Marine Girls,
Schoolly D,
Kings Of Tomorrow,
The Names,
Fat Boys,
James White and The Blacks,
The Fortunes,
Eric Copeland,
Neil Young,
Lou Reed,
Gerry Rafferty,
Lee Hazlewood,
Manfred Mann's Earth Band,
Lower 48,
Q65,
Neil Young & Crazy Horse,
Donny Hathaway,
Jimmy McGriff,
Sparks,
Heaven 17,
Nick Fraelich,
Gong,
Barry Ungar,
Magazine,
Sex Pistols,
Technova,
The Fire Engines,
Henry Cow,
Bobby Womack,
Popol Vuh,
Leonard Cohen,
The Litter,
The Offenders,
Iggy Pop,
The United States of America,
The Smoke,
Zero Boys,
Youth Brigade,
Zapp,
Sun City Girls,
The American Breed,
Deakin,
Wings,
Joyce Sims,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.