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 Afghanistan 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 1963 to 1974.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Shanghai 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 theremin 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 Masters at Work to the grunge 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 Schoolly D. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Au Pairs record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Sun City Girls,
Sun Ra Arkestra,
Television Personalities,
Pulsallama,
Eurythmics,
Rapeman,
Stiv Bators,
Bobby Hutcherson,
Scott Walker,
The Beau Brummels,
The Durutti Column,
Gang Starr,
Vainqueur,
Donald Byrd,
Circle Jerks,
Funky Four + One,
The Victims,
Marc Almond,
Fifty Foot Hose,
Terror Squad Feat. Camron,
Roy Ayers Ubiquity,
Ohio Players,
Faraquet,
Kurtis Blow,
The Jesus and Mary Chain,
Kas Product,
Godley & Creme,
Dual Sessions,
Roger Hodgson,
The Moleskins,
Alphaville,
Monolake,
Section 25,
Icehouse,
London Community Gospel Choir,
The Sisters of Mercy,
The Blackbyrds,
The Misunderstood,
The Walker Brothers,
Shoche,
The Red Krayola,
Heaven 17,
the Soft Cell,
Minny Pops,
David Axelrod,
Quando Quango,
Crash Course in Science,
Angels of Light & Akron/Family,
Goldenarms,
Hasil Adkins,
Darondo,
De La Soul & Jungle Brothers,
Ten City,
Rosa Yemen,
Public Image Ltd.,
Harpers Bizarre,
Blossom Toes,
Laurel Aitken,
Lafayette Afro Rock Band,
Brass Construction,
Babytalk,
Symarip,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.