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 Tonga and from Houston.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Barclay James Harvest to the punk kids.
I played it at CBGB's.
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 Jeru the Damaja. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Pussy Galore,
Monolake,
Nas,
Unwound,
Electric Prunes,
Ossler,
Ken Boothe,
Fear,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott Heron,
Soft Machine,
Notorious BIG live in Amsterdam,
the Soft Cell,
The Chocolate Watch Band,
Essential Logic,
Pulsallama,
Rotary Connection,
Supertramp,
Bobby Hutcherson,
Quantec,
Livin' Joy,
Whodini,
Nils Olav,
Lou Reed & John Cale,
Erasure,
Siouxsie and the Banshees,
Connie Case,
CMW,
The Cowsills,
Lightning Bolt,
The Skatalites,
The Moody Blues,
Piero Umiliani,
Clear Light,
Ituana,
Pete Rock & C.L. Smooth,
Young Marble Giants,
B.T. Express,
Isaac Hayes,
Little Man,
Niagra,
The Seeds,
Gichy Dan,
The Beau Brummels,
Rakim,
Bronski Beat,
Drive Like Jehu,
U.S. Maple,
Sixth Finger,
Mars,
New Age Steppers,
Ultimate Spinach,
Grauzone,
Deutsch Amerikanische Freundschaft,
Amon Düül II,
Tomorrow,
Maleditus Sound,
John Coltrane,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.