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 Niger and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 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 Electric Light Orchestra to the disco 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 Model 500. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Davy DMX,
Lightning Bolt,
New York Dolls,
Jesper Dahlback,
Alice Coltrane,
One Last Wish,
Throbbing Gristle,
Whodini,
Tom Boy,
Public Enemy,
Rekid,
Manfred Mann's Earth Band,
The Selecter,
Mary Jane Girls,
Selector Dub Narcotic,
Deadbeat,
Judy Mowatt,
Red Lorry Yellow Lorry,
Sonny Sharrock,
In Retrospect,
The Smoke,
Eve St. Jones,
Con Funk Shun,
Scott Walker,
a-ha,
The Detroit Cobras,
Avey Tare,
Notorious Big And Bone Thugs,
Neil Young,
Tomorrow,
Idris Muhammad,
Alton Ellis,
Morten Harket,
Lindisfarne,
Janne Schatter,
Can,
Easy Going,
Nirvana,
DeepChord presents Echospace,
Brick,
Black Pus,
Dark Day,
Boogie Down Productions,
Gong,
Rhythim Is Rhythim,
Half Japanese,
Groovy Waters,
X-Ray Spex,
The Zeros,
KRS-One,
Dawn Penn,
Ituana,
Minor Threat,
Deakin,
Roy Ayers Ubiquity,
Rhythm & Sound,
Peter Gordon & Love of Life Orchestra,
The Monks,
Yusef Lateef,
Strawberry Alarm Clock,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.