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 Honduras and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Winnipeg.
I'm losing my edge to the art-school Bremen 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 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 Half Japanese to the dance 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 Dennis Brown. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
KRS-One,
Red Lorry Yellow Lorry,
Neil Young & Crazy Horse,
F. McDonald,
Marshall Jefferson,
UT,
Teenage Jesus and the Jerks,
Mark Hollis,
Tropical Tobacco,
The Busters,
The Monochrome Set,
Graham Central Station,
The Real Kids,
Average White Band,
The Smoke,
T.S.O.L.,
Bizarre Inc.,
Ultramagnetic MC's,
Leonard Cohen,
The Sonics,
The Standells,
H. Thieme,
Rahsaan Roland Kirk,
Bobby Womack,
The Cowsills,
Ken Boothe,
Isaac Hayes,
Andrew Ashong & Theo Parrish,
Roxy Music,
Super Lover Cee & Casanova Rud,
Pagans,
Glenn Branca,
Public Image Ltd.,
Jimmy McGriff,
Royal Trux,
The Stooges,
Lower 48,
Deutsch Amerikanische Freundschaft,
John Foxx,
Desert Stars,
Lee Hazlewood,
Derrick May,
Robert Wyatt,
Essential Logic,
Masters at Work,
Magazine,
Jesper Dahlback,
John Coltrane,
Amon Düül,
Quadrant,
Skarface,
The Doors,
Vladislav Delay,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
Oblivians,
Mantronix,
Dead Boys,
Rapeman,
Thompson Twins,
Tubeway Army,
Jeff Mills,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.