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 St Lucia and from Taipei.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Tehran.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Wings to the dance kids.
I played it at the Astoria.
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 Morten Harket. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Byron Stingily,
Mr. Review,
Minutemen,
Bang On A Can,
Liaisons Dangereuses,
Kevin Saunderson,
Johnny Clarke,
L. Decosne,
The Gladiators,
Red Lorry Yellow Lorry,
Vladislav Delay,
Wally Richardson,
Guru Guru,
Throbbing Gristle,
Ice-T,
The Shadows of Knight,
Charles Mingus,
Television,
Prince Buster,
Big Daddy Kane,
Section 25,
The Victims,
Interpol,
Magazine,
The Pop Group,
Yazoo,
Laurel Aitken,
Ultimate Spinach,
Lakeside,
The Walker Brothers,
Thinking Fellers Union Local 282,
De La Soul & Jungle Brothers,
Peter Gordon & Love of Life Orchestra,
Cymande,
Vaughan Mason & Crew,
Girls At Our Best!,
Spoonie Gee,
The Beau Brummels,
Deakin,
Babytalk,
Stereo Dub,
Marshall Jefferson,
The Pretty Things,
Sam Rivers,
Lou Christie,
Orchestral Manoeuvres in the Dark,
Buzzcocks,
Royal Trux,
Easy Going,
The Fortunes,
Sparks,
Average White Band,
Super Lover Cee & Casanova Rud,
The Flesh Eaters,
Barclay James Harvest,
Ronan,
The Human League,
JFA,
Fear,
Main Source,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.