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 Guinea and from Beijing.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school London 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Janne Schatter to the electroclash 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 Aural Exciters. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal disco 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 oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Robert Hood,
Unwound,
the Association,
Scrapy,
The Dead C,
Hot Snakes,
Andrew Hill,
Warren Ellis,
Harmonia,
Girls At Our Best!,
Yazoo,
E-Dancer,
Maurizio,
Sight & Sound,
Sister Nancy,
Minny Pops,
Stockholm Monsters,
Rites of Spring,
Oneida,
Adolescents,
Babytalk,
Lou Reed & John Cale,
Marc Almond,
Nation of Ulysses,
Crispian St. Peters,
Heavy D & The Boyz,
OOIOO,
Harpers Bizarre,
Marcia Griffiths,
Alison Limerick,
Sad Lovers and Giants,
Parry Music,
Larry & the Blue Notes,
Cabaret Voltaire,
Cecil Taylor,
Popol Vuh,
the Germs,
Gary Puckett & The Union Gap,
Scratch Acid,
The Pretty Things,
Erykah Badu,
The Names,
Davy DMX,
PIL,
Letta Mbulu,
The Royal Family And The Poor,
Swans,
The Sonics,
The Real Kids,
Aswad,
Alice Coltrane,
The West Coast Pop Art Experimental Band,
Sound Behaviour,
Black Sheep,
Swell Maps,
Negative Approach,
Masters at Work,
Wings,
Lalo Schifrin,
Nick Fraelich,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.