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 Azerbaijan and from Lille.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Stockholm 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 London Community Gospel Choir to the funk kids.
I played it at Cafe Wha.
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 Danielle Patucci. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Fear,
Quantec,
CMW,
Deadbeat,
New Order,
Lightning Bolt,
Alison Limerick,
Faust,
Rhythim Is Rhythim,
Robert Wyatt,
Girls At Our Best!,
Minnie Riperton,
Jawbox,
Art Ensemble Of Chicago,
Procol Harum,
The Grass Roots,
Cal Tjader,
Vaughan Mason & Crew,
Ten City,
Althea and Donna,
Gil Scott-Heron and Jamie xx,
Jeru the Damaja,
Eyeless In Gaza,
Sister Nancy,
The Fuzztones,
Minutemen,
Eve St. Jones,
Johnny Osbourne,
The Royal Family And The Poor,
Frankie Knuckles,
Outsiders,
Qualms,
the Soft Cell,
Davy DMX,
X-Ray Spex,
Notorious Big And Bone Thugs,
Monolake,
Judy Mowatt,
Lee Hazlewood,
Delon & Dalcan,
Nick Fraelich,
Icehouse,
Terrestrial Tones,
Kurtis Blow,
Fat Boys,
Skriet,
Black Sheep,
James White and The Blacks,
Echospace,
Grandmaster Flash,
Lebanon Hanover,
Lalo Schifrin,
Joe Finger,
Aloha Tigers,
The Mummies,
Animal Collective,
Shuggie Otis,
The Monochrome Set,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.