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 Greece and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school London 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 guitar 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 Soft Machine to the rap kids.
I played it at the Spitz.
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 Kaleidoscope. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Gregory Isaacs,
Matthew Halsall,
Ronnie Foster,
Eric Dolphy,
The Litter,
Kurtis Blow,
David Axelrod,
Jacques Brel,
Lonnie Liston Smith,
Surgeon,
Byron Stingily,
the Swans,
A Flock of Seagulls,
Pole,
The Pop Group,
Nas,
DNA,
Spandau Ballet,
The Seeds,
Lower 48,
The Smiths,
The Martian,
Duran Duran,
New York Dolls,
The Blues Magoos,
Alison Limerick,
Eyeless In Gaza,
Altered Images,
The Evens,
Matthew Bourne,
Pulsallama,
Ludus,
Smog,
Kings Of Tomorrow,
Johnny Osbourne,
Brand Nubian,
Bronski Beat,
Soft Machine,
Ituana,
OOIOO,
Agitation Free,
LL Cool J,
The Cramps,
Angry Samoans,
Blossom Toes,
Marine Girls,
Rufus Thomas,
The Dirtbombs,
Bauhaus,
Lalann,
The Fire Engines,
Peter & Gordon,
Rod Modell,
the Germs,
Guru Guru,
Ohio Players,
The Doobie Brothers,
Neu!,
The West Coast Pop Art Experimental Band,
Darondo,
The Golliwogs,
the Soft Cell,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.