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 United Kingdom and from Glasgow.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Salvador 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Byron Stingily to the crunk 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 Rhythim Is Rhythim. All the underground hits.
All the Human League 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 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 a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Oblivians,
Morten Harket,
Glenn Branca,
Radio Birdman,
Bang On A Can,
Moss Icon,
LL Cool J,
B.T. Express,
Curtis Mayfield,
The Human League,
Yazoo,
Kerrie Biddell,
Subhumans,
Oneida,
Selector Dub Narcotic,
Scion,
Skriet,
Deakin,
The Sound,
The Fortunes,
Underground Resistance,
Ituana,
The Men They Couldn't Hang,
Teenage Jesus and the Jerks,
David Axelrod,
Schoolly D,
Maleditus Sound,
Avey Tare's Slasher Flicks,
Amon Düül II,
Rod Modell,
Fat Boys,
The United States of America,
Gil Scott Heron,
Kayak,
Matthew Bourne,
Gichy Dan,
Sarah Menescal,
Gregory Isaacs,
Black Bananas,
Soul II Soul,
Suburban Knight,
the Soft Cell,
Joy Division,
Banda Bassotti,
Nick Fraelich,
Junior Murvin,
The New Christs,
China Crisis,
Gang of Four,
Lou Reed & Metallica,
The Angels of Light,
Pylon,
Robert Wyatt,
Quando Quango,
Roger Hodgson,
Youth Brigade,
Flash Fearless,
Gian Franco Pienzio,
Yellowson,
Magazine,
Pharaoh Sanders and the Fire Engines,
The Trojans,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.