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 Zimbabwe and from Jakarta.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lagos.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Christie to the rock kids.
I played it at the Hacienda.
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 Eric B and Rakim. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Traffic Nightmare 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Lonnie Liston Smith,
Chrome,
Tom Boy,
Althea and Donna,
Television,
Average White Band,
The West Coast Pop Art Experimental Band,
Thee Headcoats,
X-101,
Agitation Free,
Fatback Band,
Max Romeo,
The Cure,
Nirvana,
48th St. Collective,
Skriet,
The Fall,
Rahsaan Roland Kirk,
Dual Sessions,
The Gun Club,
Loose Ends,
Alison Limerick,
Marc Romboy vs. Booka Shade,
The Velvet Underground,
Cybotron,
Ohio Players,
Ronan,
a-ha,
Sixth Finger,
Mantronix,
Eric Dolphy,
Barbara Tucker,
Dawn Penn,
Toni Rubio,
Laurel Aitken,
Moby Grape,
Jesper Dahlback,
Urselle,
OOIOO,
Unrelated Segments,
Stetsasonic,
A Certain Ratio,
Icehouse,
U.S. Maple,
Darondo,
Crispy Ambulance,
Magazine,
The Pop Group,
Pagans,
Gil Scott Heron,
Alton Ellis,
Wasted Youth,
Janne Schatter,
Delon & Dalcan,
Colin Newman,
Sight & Sound,
Joe Finger,
Animal Collective,
Ten City,
Minutemen,
Masters at Work,
The Martian,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.