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 Senegal and from Toronto.
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 1977.
I'm losing my edge.
To all the kids in Accra and Shanghai.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Lou Reed to the grunge 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 The Jesus and Mary Chain. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
The Skatalites,
Lou Reed & Metallica,
The Fuzztones,
Tim Buckley,
Anakelly,
Eve St. Jones,
Lindisfarne,
Saccharine Trust,
Inner City,
Fela Kuti,
Art Ensemble Of Chicago,
Mark Hollis,
Ronnie Foster,
Crispy Ambulance,
Youth Brigade,
Brass Construction,
The Golliwogs,
Bill Near,
DeepChord presents Echospace,
The Birthday Party,
Joensuu 1685,
ABBA,
The Slackers,
Talk Talk,
Duran Duran,
The Pop Group,
Strawberry Alarm Clock,
Jimmy McGriff,
Soul II Soul,
Japan,
DNA,
Rites of Spring,
The Pretty Things,
The Gun Club,
Ultramagnetic MC's,
Scratch Acid,
Can,
Country Joe & The Fish,
The Index,
The Peanut Butter Conspiracy,
La Düsseldorf,
Alison Limerick,
Lou Christie,
Chrome,
The Grass Roots,
Flipper,
Avey Tare & Kría Brekkan,
Liaisons Dangereuses,
Motorama,
Rowland S Howard / Lydia Lunch,
The Last Poets,
Lizzy Mercier Descloux,
Electric Prunes,
The Invisible,
Idris Muhammad,
Scrapy,
H. Thieme,
Banda Bassotti,
T. Rex,
The Techniques,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.