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 Ghana and from Bremen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
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 Matthew Bourne to the rock kids.
I played it at CBGB's.
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 Grey Daturas. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Sight & Sound 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 '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Scrapy,
Amazonics,
Funky Four + One,
KRS-One,
Kool G Rap & DJ Polo,
David Bowie,
Mr. Review,
The Electric Prunes,
Blancmange,
D'Angelo,
Lalann,
Q and Not U,
The Velvet Underground,
Fugazi,
John Coltrane,
Kango’s Stein Massive,
Gregory Isaacs,
Strawberry Alarm Clock,
Scion,
The Misunderstood,
Vainqueur,
Blossom Toes,
Don Cherry,
Barclay James Harvest,
kango's stein massive,
Siouxsie and the Banshees,
The Shadows of Knight,
MC5,
Stereo Dub,
Organ,
Quando Quango,
Gichy Dan,
Thee Headcoats,
Joy Division,
Nas,
Super Lover Cee & Casanova Rud,
The Zeros,
Fela Kuti,
Bush Tetras,
Be Bop Deluxe,
Gil Scott-Heron and Jamie xx,
The Five Americans,
Newcleus,
Interpol,
China Crisis,
The Tremeloes,
Soul II Soul,
Lonnie Liston Smith,
Barbara Tucker,
ABC,
Animal Collective,
Nirvana,
Eric Dolphy,
The Selecter,
Gil Scott-Heron & Brian Jackson,
Gang Gang Dance,
CMW,
Cecil Taylor,
Unwound,
Oblivians,
Ten City, Ten City, Ten City, Ten City.
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.