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 Zambia and from Tokyo.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Milan 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 Piero Umiliani to the grunge kids.
I played it at the Crocodile.
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 Animal Collective. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Deadbeat 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Kenny Larkin,
The Fortunes,
The Alarm Clocks,
Supertramp,
Ponytail,
Hoover,
KRS-One,
The Move,
Siglo XX,
Neil Young & Crazy Horse,
Pantaleimon,
The Fuzztones,
X-Ray Spex,
Cluster,
Funky Four + One,
Intrusion,
Fatback Band,
The Gories,
Rites of Spring,
Stiv Bators,
Jeff Lynne,
The Victims,
Oblivians,
Bronski Beat,
Kool G Rap & DJ Polo,
Deakin,
Siouxsie and the Banshees,
Cybotron,
Jawbox,
The Sound,
The Doors,
Sad Lovers and Giants,
Darondo,
Guru Guru,
Echo & the Bunnymen,
Andrew Hill,
The Trojans,
Althea and Donna,
Lizzy Mercier Descloux,
Scratch Acid,
Isaac Hayes,
The Standells,
Hasil Adkins,
The Beau Brummels,
Jacob Miller,
Rekid,
Gong,
Notorious Big And Bone Thugs,
Alison Limerick,
Rahsaan Roland Kirk,
R.M.O.,
Patti Smith,
Electric Light Orchestra,
Zapp,
Scion,
Pere Ubu,
Chris Corsano,
The Knickerbockers,
Groovy Waters,
Brothers Johnson,
Smog,
Jacques Brel,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.