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 Somalia and from Cairo.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 Peter Gordon & Love of Life Orchestra to the jazz 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 F. McDonald. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Man Eating Sloth,
Loose Ends,
Little Man,
Lou Reed & John Cale,
Selector Dub Narcotic,
Barclay James Harvest,
Au Pairs,
Sandy B,
Bauhaus,
Ken Boothe,
The Black Dice,
Bobby Sherman,
Cheater Slicks,
Unrelated Segments,
Pylon,
The Moody Blues,
Major Organ And The Adding Machine,
Ohio Players,
Cecil Taylor,
Ornette Coleman,
The Misunderstood,
Terrestrial Tones,
The Pop Group,
The Music Machine,
David McCallum,
Jesper Dahlbäck,
Tommy Roe,
Tropical Tobacco,
The Knickerbockers,
the Association,
Swell Maps,
Theoretical Girls,
Spandau Ballet,
Trumans Water,
Eurythmics,
Wighnomy Brothers & Robag Wruhme,
10cc,
Wings,
Black Pus,
Iggy Pop,
Carl Craig,
John Cale,
Faraquet,
the Germs,
Avey Tare & Kría Brekkan,
The Searchers,
Second Layer,
Masters at Work,
Magma,
Groovy Waters,
Moby Grape,
kango's stein massive,
Dennis Brown,
Negative Approach,
Slave,
Shuggie Otis,
Ronnie Foster,
Jawbox,
Bronski Beat,
Alison Limerick,
The Men They Couldn't Hang,
The Techniques, The Techniques, The Techniques, The Techniques.
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.