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 Equatorial Guinea and from Spokane.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Bremen and Halifax.
I'm losing my edge to the art-school Delhi 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 Cameo to the disco kids.
I played it at the Astoria.
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 Standells. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Rosa Yemen 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant 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?
The Selecter,
Faraquet,
Black Bananas,
The Move,
the Soft Cell,
The Music Machine,
Bauhaus,
The Birthday Party,
48th St. Collective,
Nation of Ulysses,
Spoonie Gee,
The Human League,
Strawberry Alarm Clock,
Electric Prunes,
Stiv Bators,
Avey Tare,
Au Pairs,
The Moody Blues,
Brothers Johnson,
David Bowie,
Nils Olav,
Gian Franco Pienzio,
Crispy Ambulance,
Cameo,
X-Ray Spex,
Bang On A Can,
the Fania All-Stars,
The Standells,
The United States of America,
Depeche Mode,
The Remains,
Frankie Knuckles,
Maleditus Sound,
Neil Young & Crazy Horse,
Skarface,
Fat Boys,
the Swans,
The Young Rascals,
Captain Beefheart & His Magic Band,
Neu!,
Lou Reed & Metallica,
Barry Ungar,
Peter and Kerry,
the Human League,
London Community Gospel Choir,
Joey Negro,
Vladislav Delay,
Eden Ahbez,
Lou Christie,
Lafayette Afro Rock Band,
Max Romeo,
Shuggie Otis,
Animal Collective,
DJ Sneak,
Terrestrial Tones,
Eric Dolphy,
Curtis Mayfield,
Skriet,
The Trojans,
Eric Copeland,
Sam Rivers,
Yaz,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.