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 Micronesia and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Paris 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 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 The Last Poets to the jazz kids.
I played it at the Roxy.
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 Camberwell Now. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Peter & Gordon,
Ash Ra Tempel,
The United States of America,
Echospace,
Peter Gordon & Love of Life Orchestra,
James White and The Blacks,
Unrelated Segments,
Amazonics,
Lou Christie,
The Mojo Men,
Wally Richardson,
The Moody Blues,
Gang Green,
Country Joe & The Fish,
Cecil Taylor,
Q and Not U,
Suicide,
The Blues Magoos,
Bronski Beat,
X-101,
Clear Light,
Byron Stingily,
Buzzcocks,
Model 500,
Guru Guru,
Max Romeo,
Crime,
Marc Almond,
Cluster,
The Cure,
Blake Baxter,
Manfred Mann's Earth Band,
The Techniques,
Von Mondo,
U.S. Maple,
These Immortal Souls,
Bizarre Inc.,
Gabor Szabo,
Au Pairs,
Don Cherry,
Can,
Monks,
Darondo,
CMW,
Surgeon,
Bush Tetras,
K-Klass,
Ludus,
Black Pus,
Colin Newman,
Nik Kershaw,
The Invisible,
John Holt,
The Selecter,
Rhythm & Sound,
The Martian,
Pantytec,
Lyres,
Brothers Johnson,
Barry Ungar,
Parry Music, Parry Music, Parry Music, Parry Music.
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.