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 El Salvador and from Glasgow.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 Lalann to the rap kids.
I played it at the Spitz.
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 Brothers Johnson. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Rosa Yemen 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
The Moody Blues,
Joe Smooth,
Theoretical Girls,
Young Marble Giants,
Dead Boys,
The Kinks,
the Association,
Juan Atkins,
Ralphi Rosario,
Ponytail,
Art Ensemble Of Chicago,
Joy Division,
Arcadia,
The Seeds,
New Order,
Scrapy,
Babytalk,
Red Lorry Yellow Lorry,
Clear Light,
Ludus,
Moby Grape,
Donny Hathaway,
One Last Wish,
Pharaoh Sanders and the Fire Engines,
Wasted Youth,
Toni Rubio,
X-102,
Notorious BIG live in Amsterdam,
Eddi Front,
The Beau Brummels,
Amazonics,
Sun Ra Arkestra,
Soul II Soul,
The Pop Group,
Johnny Osbourne,
Delon & Dalcan,
Deepchord,
Don Cherry,
Rowland S Howard / Lydia Lunch,
New York Dolls,
Au Pairs,
A Certain Ratio,
Röyhkä ja Rättö ja Lehtisalo,
Television,
Henry Cow,
Todd Rundgren,
Gil Scott-Heron & Brian Jackson,
The Standells,
Ultramagnetic MC's,
Sarah Menescal,
Urselle,
The Associates,
The Mighty Diamonds,
Marc Almond,
Warsaw,
Gabor Szabo,
ABBA,
Janne Schatter,
Lucky Dragons,
Fluxion,
John Cale, John Cale, John Cale, 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.