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 Liberia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Buzzcocks to the disco kids.
I played it at the 40 Watt.
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 Amon Düül II. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar 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 Moody Blues,
H. Thieme,
The United States of America,
Be Bop Deluxe,
Lee Hazlewood,
Ossler,
The Monks,
A Certain Ratio,
Nirvana,
Infiniti,
Depeche Mode,
D'Angelo,
the Swans,
Slick Rick,
The Move,
Procol Harum,
Public Enemy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Görl,
Selector Dub Narcotic,
MDC,
Q65,
Harry Pussy,
Faust,
Gil Scott-Heron & Brian Jackson,
Lou Reed,
Groovy Waters,
Soul Sonic Force,
Symarip,
Jeff Lynne,
Marvin Gaye,
The Count Five,
Orchestral Manoeuvres in the Dark,
Excepter,
Grauzone,
Donny Hathaway,
Cameo,
Larry & the Blue Notes,
Liaisons Dangereuses,
Newcleus,
The Motions,
Colin Newman,
Jesper Dahlbäck,
Dawn Penn,
Pierre Henry,
Brick,
Roxette,
Bill Wells,
Second Layer,
The Moleskins,
Aural Exciters,
Whodini,
Barbara Tucker,
The Skatalites,
Sly & The Family Stone,
The Victims,
48th St. Collective,
Minutemen,
Mission of Burma,
Scion,
The Slackers,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.