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 Sudan and from Seoul.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Althea and Donna to the electroclash 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 Bang On A Can. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every The Blackbyrds 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
AZ,
Main Source,
Manfred Mann's Earth Band,
The Music Machine,
Rosa Yemen,
Angry Samoans,
Gerry Rafferty,
Amon Düül II,
Ten City,
Toni Rubio,
CMW,
The Knickerbockers,
John Coltrane,
Excepter,
John Lydon,
Beasts of Bourbon,
Bronski Beat,
New York Dolls,
Boredoms,
Bobby Sherman,
Electric Prunes,
The Smiths,
Sonny Sharrock,
Pantaleimon,
Sugar Minott,
Hardrive,
Japan,
the Association,
The Five Americans,
Amon Düül,
Spandau Ballet,
DJ Sneak,
Godley & Creme,
Los Fastidios,
Black Sheep,
The Doors,
Justin Hinds & The Dominoes,
The Monks,
Man Eating Sloth,
Donald Byrd,
Gil Scott-Heron & Brian Jackson,
Brand Nubian,
Avey Tare,
One Last Wish,
Symarip,
The Human League,
The Men They Couldn't Hang,
Dave Gahan,
Absolute Body Control,
Con Funk Shun,
Boogie Down Productions,
The Pop Group,
Faraquet,
The Slackers,
Alton Ellis,
Dead Boys,
Suburban Knight,
Sunsets and Hearts,
Flipper,
the Swans,
Monolake, Monolake, Monolake, Monolake.
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.