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 Italy and from Calgary.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Soft Machine to the grime kids.
I played it at the Crocodile.
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 Sister Nancy. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
The Zeros,
Black Pus,
Bobby Byrd,
Aural Exciters,
Ajijia Myrayebe,
The Fire Engines,
Super Lover Cee & Casanova Rud,
Minny Pops,
Nirvana,
The Smoke,
Ituana,
Rod Modell,
Grey Daturas,
Echospace,
The Offenders,
Tim Buckley,
Curtis Mayfield,
David McCallum,
The Moody Blues,
Kayak,
Symarip,
Rahsaan Roland Kirk,
Tom Boy,
Pylon,
New Age Steppers,
Cymande,
Josef K,
T.S.O.L.,
Zero Boys,
Desert Stars,
the Association,
Boredoms,
Roxette,
James White and The Blacks,
Stockholm Monsters,
The Durutti Column,
The Alarm Clocks,
Dark Day,
Gang Starr,
Joe Finger,
Unrelated Segments,
The Raincoats,
Kool G Rap & DJ Polo,
Charles Mingus,
Scrapy,
Severed Heads,
Absolute Body Control,
June of 44,
Don Cherry,
Lou Reed,
The Fugs,
The Techniques,
Andrew Ashong & Theo Parrish,
Sonny Sharrock,
Derrick Morgan,
Harmonia,
Rhythim Is Rhythim,
DJ Style,
The Grass Roots,
Interpol,
Brass Construction,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.