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 Panama and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Lyon 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Vladislav Delay to the grunge kids.
I played it at the Troubador.
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 Dawn Penn. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
John Cale,
Fatback Band,
Lee Hazlewood,
ABBA,
The Raincoats,
Theoretical Girls,
Malaria!,
The Human League,
The Slits,
China Crisis,
Banda Bassotti,
Radiopuhelimet,
Wighnomy Brothers & Robag Wruhme,
Bobby Womack,
Saccharine Trust,
Jacques Brel,
Sixth Finger,
Peter & Gordon,
Public Enemy,
Nico,
Jeff Lynne,
Mad Mike,
Magma,
Beasts of Bourbon,
Gerry Rafferty,
Alison Limerick,
Eden Ahbez,
Trumans Water,
Arcadia,
Bootsy Collins,
Pere Ubu,
Supertramp,
London Community Gospel Choir,
Livin' Joy,
June of 44,
Amazonics,
Mr. Review,
Gil Scott-Heron and Jamie xx,
Q65,
The Fall,
Desert Stars,
Vainqueur,
Eric Copeland,
the Swans,
Echo & the Bunnymen,
Ossler,
Crispy Ambulance,
Lungfish,
Deutsch Amerikanische Freundschaft,
Barbara Tucker,
Bobby Byrd,
Rhythm & Sound,
Pierre Henry,
Sad Lovers and Giants,
The Kinks,
Harry Pussy,
Liliput,
The Saints,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.