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 Madrid.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Calgary and Lagos.
I'm losing my edge to the art-school Bologna 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 1968 at the first Can practice in a loft in Cologne.
I was working on the organ 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 Oneida to the techno kids.
I played it at the Spitz.
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 Kaleidoscope. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Quando Quango 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 '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
New Order,
James White and The Blacks,
Pylon,
Scrapy,
Soft Machine,
Fifty Foot Hose,
June of 44,
Art Ensemble Of Chicago,
The Cowsills,
Erasure,
The Beau Brummels,
Stockholm Monsters,
Von Mondo,
Chris & Cosey,
Rhythm & Sound,
Grandmaster Flash and the Furious Five,
Wally Richardson,
Harmonia,
Mission of Burma,
CMW,
DJ Sneak,
DNA,
The Motions,
Archie Shepp,
Jeff Lynne,
Gian Franco Pienzio,
Nas,
Vaughan Mason & Crew,
Alice Coltrane,
Johnny Osbourne,
Radiopuhelimet,
Flamin' Groovies,
Ituana,
Derrick May,
Ludus,
Aural Exciters,
The Cure,
One Last Wish,
The Real Kids,
The Mojo Men,
Kool Moe Dee,
Morten Harket,
Junior Murvin,
The Monochrome Set,
The Flesh Eaters,
Oblivians,
The Last Poets,
Crispy Ambulance,
Gil Scott Heron,
The Names,
Strawberry Alarm Clock,
Man Eating Sloth,
The Doors,
Qualms,
Nils Olav,
Technova,
Ossler,
Frankie Knuckles,
Warren Ellis,
Bang On A Can,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.