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 Tajikistan and from Woodstock.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Lindisfarne to the punk kids.
I played it at Cafe Wha.
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 Chris Corsano. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Ultravox 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Rotary Connection,
Dual Sessions,
Rhythm & Sound,
David Axelrod,
Ultravox,
Barclay James Harvest,
Make Up,
Man Parrish,
Whodini,
Scratch Acid,
Rhythim Is Rhythim,
Darondo,
Swans,
Harmonia,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson,
Eli Mardock,
The Move,
Absolute Body Control,
Yusef Lateef,
Chris & Cosey,
Tubeway Army,
Lou Reed,
K-Klass,
Tears for Fears,
Echospace,
8 Eyed Spy,
Delta 5,
Davy DMX,
Section 25,
Theoretical Girls,
The West Coast Pop Art Experimental Band,
Malaria!,
Unrelated Segments,
Half Japanese,
Gil Scott Heron,
Maurizio,
John Lydon,
These Immortal Souls,
Public Image Ltd.,
Derrick May,
New Age Steppers,
OOIOO,
Ten City,
Cabaret Voltaire,
Pagans,
Donald Byrd,
Kaleidoscope,
Sight & Sound,
Glambeats Corp.,
Reuben Wilson,
Quadrant,
Bootsy's Rubber Band,
Subhumans,
Bauhaus,
Funky Four + One,
Bill Wells,
Sarah Menescal,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.