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 Azerbaijan and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Woodstock 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Connie Case to the techno kids.
I played it at Cafe Wha.
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 Rhythim Is Rhythim. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Quadrant 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Lee Hazlewood,
Kevin Saunderson,
Country Joe & The Fish,
Swell Maps,
L. Decosne,
Supertramp,
Desert Stars,
Man Parrish,
The Gun Club,
Mark Hollis,
Dead Boys,
Ultramagnetic MC's,
Masters at Work,
The Techniques,
Yellowson,
The Barracudas,
Juan Atkins,
The Invisible,
Chrome,
Ultra Naté,
Fluxion,
The Martian,
Fela Kuti,
Model 500,
Niagra,
Lou Christie,
Dave Gahan,
La Düsseldorf,
Liliput,
Duran Duran,
Scott Walker,
The Monks,
Ituana,
Average White Band,
The Smiths,
Charles Mingus,
Bootsy Collins,
ABBA,
Lou Reed & John Cale,
Siouxsie and the Banshees,
Echospace,
Minnie Riperton,
Anakelly,
Vladislav Delay,
Wally Richardson,
De La Soul & Jungle Brothers,
Excepter,
Brothers Johnson,
Joy Division,
Sexual Harrassment,
Joe Smooth,
Red Lorry Yellow Lorry,
Johnny Osbourne,
The Young Rascals,
Spoonie Gee,
Lindisfarne,
Sam Rivers,
The Leaves,
The Peanut Butter Conspiracy,
John Cale,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.