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 Cape Verde and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Lyon 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Scratch Acid to the grunge kids.
I played it at Trash.
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 Ossler. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Deakin 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 '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
Glambeats Corp.,
Scientists,
Warsaw,
Andrew Ashong & Theo Parrish,
Bill Near,
Yellowson,
The Last Poets,
Be Bop Deluxe,
Robert Görl,
Frankie Knuckles,
KRS-One,
DeepChord presents Echospace,
Basic Channel,
Barrington Levy,
Vainqueur,
Gary Puckett & The Union Gap,
Underground Resistance,
The Red Krayola,
Thompson Twins,
Nick Fraelich,
F. McDonald,
PIL,
The Beau Brummels,
Kas Product,
Gichy Dan,
Big Daddy Kane,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Sixth Finger,
Zero Boys,
Sight & Sound,
Minutemen,
Junior Murvin,
The Electric Prunes,
Eden Ahbez,
Jandek,
Country Teasers,
The Black Dice,
Agitation Free,
Cheater Slicks,
The Fire Engines,
A Flock of Seagulls,
Heavy D & The Boyz,
The Offenders,
Cymande,
the Soft Cell,
The Techniques,
Nils Olav,
Los Fastidios,
Desert Stars,
Matthew Halsall,
Danielle Patucci,
R.M.O.,
Tomorrow,
Jacques Brel,
Marcia Griffiths,
Franke,
Sun Ra Arkestra,
Jacob Miller,
Average White Band,
The Angels of Light,
Q and Not U,
Skriet,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.