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 South Sudan and from Woodstock.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
I'm losing my edge to the art-school Tehran 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba 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 Sam Rivers to the techno 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 Andrew Hill. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Josef K,
Supertramp,
The Standells,
Harpers Bizarre,
Jeru the Damaja,
Juan Atkins,
Oneida,
Ralphi Rosario,
Banda Bassotti,
Man Eating Sloth,
Boz Scaggs,
Smog,
Qualms,
Harmonia,
Sticky Fingaz feat. Raekwon,
Alton Ellis,
Piero Umiliani,
Half Japanese,
It's A Beautiful Day,
Roy Ayers,
The Velvet Underground,
F. McDonald,
Ornette Coleman,
Amazonics,
Audionom,
Lee Hazlewood,
Rapeman,
Selector Dub Narcotic,
Monolake,
Mad Mike,
Hasil Adkins,
Organ,
Popol Vuh,
Ossler,
Strawberry Alarm Clock,
Bill Near,
Stetsasonic,
Barbara Tucker,
Carl Craig,
Essential Logic,
Radiopuhelimet,
the Bar-Kays,
Be Bop Deluxe,
Roger Hodgson,
China Crisis,
Cheater Slicks,
B.T. Express,
The Litter,
Wings,
The Fugs,
Slick Rick,
Bill Wells,
Television Personalities,
Guru Guru,
Davy DMX,
Technova,
Dual Sessions,
The Remains,
The Walker Brothers,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.