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 Kenya and from Edmonton.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Salvador 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 Gabor Szabo to the rap 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 Rhythm & Sound. All the underground hits.
All the Association tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
The Associates,
Danielle Patucci,
Can,
Barclay James Harvest,
Erasure,
Cecil Taylor,
kango's stein massive,
The American Breed,
Max Romeo,
Red Lorry Yellow Lorry,
Babytalk,
Eli Mardock,
Deepchord,
Ronan,
Stockholm Monsters,
Blossom Toes,
John Cale,
Gian Franco Pienzio,
Lalo Schifrin,
Jesper Dahlback,
Larry & the Blue Notes,
Zapp,
Flash Fearless,
Bizarre Inc.,
Country Teasers,
DJ Sneak,
EPMD,
Quantec,
Cluster,
Little Man,
Aaron Thompson,
Deutsch Amerikanische Freundschaft,
Slave,
Supertramp,
Pet Shop Boys,
Rufus Thomas,
Röyhkä ja Rättö ja Lehtisalo,
The Fortunes,
Kings Of Tomorrow,
Urselle,
Tropical Tobacco,
Angry Samoans,
Alphaville,
Nick Fraelich,
Livin' Joy,
Wings,
Joensuu 1685,
Donald Byrd,
Funky Four + One,
Radio Birdman,
DJ Style,
the Human League,
B.T. Express,
Silicon Teens,
The Peanut Butter Conspiracy,
The Cramps,
The Pop Group,
Steve Hackett,
The Angels of Light,
Dawn Penn,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.