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 Switzerland and from Seoul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Neil Young to the funk 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 Agitation Free. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Donny Hathaway,
Jeff Lynne,
D'Angelo,
The Moody Blues,
E-Dancer,
Connie Case,
T. Rex,
Be Bop Deluxe,
Skaos,
La Düsseldorf,
Darondo,
Patti Smith,
The Walker Brothers,
Kenny Larkin,
Thompson Twins,
The Dead C,
These Immortal Souls,
Juan Atkins,
Q65,
Fear,
Avey Tare's Slasher Flicks,
Janne Schatter,
UT,
Tomorrow,
Echo & the Bunnymen,
Visionaries,LMNO, T- Love & Iriscience,
Strawberry Alarm Clock,
The Slits,
The Pop Group,
Nik Kershaw,
Bobby Byrd,
New Age Steppers,
Gang Green,
Crispian St. Peters,
Q and Not U,
Eyeless In Gaza,
The Motions,
ABC,
Liliput,
Eli Mardock,
Mary Jane Girls,
Scrapy,
The Sound,
Kings Of Tomorrow,
The Smoke,
The Mojo Men,
Gil Scott Heron,
Anakelly,
Depeche Mode,
The Last Poets,
The Buckinghams,
Bill Near,
Aaron Thompson,
The Cramps,
Visage,
Pylon,
kango's stein massive,
Fugazi,
The Residents, The Residents, The Residents, The Residents.
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.