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 Singapore and from Manila.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Manila 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the marimba 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 Barclay James Harvest to the techno kids.
I played it at CBGB's.
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 Ultravox. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Blake Baxter,
Yusef Lateef,
B.T. Express,
Soulsonic Force,
Richard Hell and the Voidoids,
Angels of Light & Akron/Family,
Pharoah Sanders,
The Fuzztones,
10cc,
Connie Case,
Junior Murvin,
Carl Craig,
Bluetip,
Pussy Galore,
Patti Smith,
Moebius,
Lucky Dragons,
Bang On A Can,
Oneida,
cv313,
The Gun Club,
Absolute Body Control,
Los Fastidios,
Boredoms,
Kerri Chandler,
Slave,
Minnie Riperton,
Pagans,
Suburban Knight,
Agitation Free,
Skarface,
The Fortunes,
Rakim,
Roger Hodgson,
Pete Rock & C.L. Smooth,
Captain Beefheart & His Magic Band,
Throbbing Gristle,
Brass Construction,
Moss Icon,
Ohio Players,
Ronan,
Gang Green,
The Fall,
Janne Schatter,
John Foxx,
The Pop Group,
The Doors,
Cybotron,
Average White Band,
Jerry Gold Smith,
Section 25,
the Swans,
Jawbox,
The West Coast Pop Art Experimental Band,
Al Stewart,
Joyce Sims,
Pere Ubu,
Crime,
Terrestrial Tones,
U.S. Maple,
Stereo Dub,
China Crisis, China Crisis, China Crisis, China Crisis.
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.