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 Peru and from London.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ 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 The Velvet Underground to the electroclash kids.
I played it at the Troubador.
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 Gang Gang Dance. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Swell Maps,
Vladislav Delay,
The Monochrome Set,
Shuggie Otis,
The Zeros,
Pere Ubu,
the Bar-Kays,
Q and Not U,
Television Personalities,
Ralphi Rosario,
Eric B and Rakim,
Agitation Free,
Carl Craig,
Moebius,
Siglo XX,
The Young Rascals,
Alton Ellis,
Franke,
Marc Almond,
Eden Ahbez,
Jesper Dahlbäck,
Sunsets and Hearts,
Godley & Creme,
a-ha,
The Move,
Lou Reed & Metallica,
Cameo,
Louis and Bebe Barron,
Joey Negro,
The Slackers,
Terry Callier,
The Index,
Spoonie Gee,
La Düsseldorf,
John Foxx,
Mandrill,
Lou Reed,
The Beau Brummels,
Tropical Tobacco,
Ten City,
The Pop Group,
The Fortunes,
Q65,
Wally Richardson,
Boz Scaggs,
the Human League,
Mission of Burma,
Ajijia Myrayebe,
Yellowson,
Wings,
Aural Exciters,
Rekid,
Young Marble Giants,
Dark Day,
Man Eating Sloth,
June Days,
Mr. Review,
Girls At Our Best!,
Yusef Lateef,
Todd Rundgren,
Surgeon,
the Germs, the Germs, the Germs, the Germs.
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.