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 East Timor and from Tehran.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Milan 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Kings Of Tomorrow to the rock 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 Albert Ayler. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every The Mojo Men 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Skriet,
Don Cherry,
Metal Thangz,
Intrusion,
The Selecter,
Bobby Womack,
Joensuu 1685,
Soulsonic Force,
Buzzcocks,
Crispian St. Peters,
Soft Machine,
Pet Shop Boys,
Lakeside,
Newcleus,
Man Parrish,
Moss Icon,
The American Breed,
Gerry Rafferty,
Lightning Bolt,
Quantec,
John Foxx,
Thinking Fellers Union Local 282,
Magazine,
The Pop Group,
Pharoah Sanders,
The Shadows of Knight,
Larry & the Blue Notes,
Scan 7,
Roxette,
Silicon Teens,
Dead Boys,
Curtis Mayfield,
Röyhkä ja Rättö ja Lehtisalo,
The Kinks,
Basic Channel,
Traffic Nightmare,
ABBA,
Camouflage,
Terrestrial Tones,
Can,
Delta 5,
Aural Exciters,
Hardrive,
Eyeless In Gaza,
Mandrill,
Donny Hathaway,
The Techniques,
Roger Hodgson,
Average White Band,
Whodini,
the Germs,
Ash Ra Tempel,
Morten Harket,
X-102,
Qualms,
Minny Pops,
The Jesus and Mary Chain,
Supertramp,
Rotary Connection,
Albert Ayler,
David Bowie,
Sandy B, Sandy B, Sandy B, Sandy B.
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.