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 Spain and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 snare 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 Make Up to the dance 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 June of 44. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Minor Threat,
In Retrospect,
Oppenheimer Analysis,
Hasil Adkins,
The Walker Brothers,
Magazine,
The Pop Group,
Minnie Riperton,
The Victims,
Gerry Rafferty,
These Immortal Souls,
8 Eyed Spy,
The Dirtbombs,
48th St. Collective,
Peter & Gordon,
Fat Boys,
Newcleus,
Fugazi,
Bill Near,
Jimmy McGriff,
Jeff Lynne,
Ronnie Foster,
Thinking Fellers Union Local 282,
Jawbox,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Stooges,
Technova,
La Düsseldorf,
Average White Band,
The Toasters,
Roxy Music,
The Kinks,
The Last Poets,
Donny Hathaway,
Heavy D & The Boyz,
Lou Reed & John Cale,
Magma,
Sixth Finger,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Andrew Hill,
De La Soul & Jungle Brothers,
Harpers Bizarre,
Supertramp,
Motorama,
The Knickerbockers,
Avey Tare & Kría Brekkan,
Wire,
Can,
Gregory Isaacs,
Sexual Harrassment,
John Lydon,
Banda Bassotti,
Tears for Fears,
Bobby Womack,
Kool G Rap & DJ Polo,
Crime,
Lafayette Afro Rock Band,
The Index,
the Human League,
Model 500, Model 500, Model 500, Model 500.
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.