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 Iraq and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Toronto and Delhi.
I'm losing my edge to the art-school Philadelphia 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 Big Star practice in a loft in Memphis.
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 Sound Behaviour 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 Aural Exciters. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
One Last Wish,
Lou Reed,
Oneida,
Wolf Eyes,
Echo & the Bunnymen,
Loose Ends,
MDC,
Al Stewart,
Jacques Brel,
Liliput,
Crime,
Tubeway Army,
The Fuzztones,
Hardrive,
T.S.O.L.,
Johnny Osbourne,
Symarip,
Popol Vuh,
The Modern Lovers,
The Wake,
Pere Ubu,
The Golliwogs,
Lee Hazlewood,
Shuggie Otis,
Heaven 17,
Ornette Coleman,
PIL,
Eric B and Rakim,
Niagra,
The Associates,
Stiv Bators,
The Fortunes,
Gastr Del Sol,
Dead Boys,
Traffic Nightmare,
Fluxion,
The Birthday Party,
Q65,
Gil Scott-Heron and Jamie xx,
Bad Manners,
Funky Four + One,
Organ,
Bootsy's Rubber Band,
Spandau Ballet,
June of 44,
Liaisons Dangereuses,
F. McDonald,
Japan,
New York Dolls,
Bill Wells,
Scan 7,
The Remains,
Lonnie Liston Smith,
Sarah Menescal,
the Association,
Saccharine Trust,
Tears for Fears,
Easy Going,
LL Cool J,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.