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 Namibia and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
I'm losing my edge to the art-school Jakarta 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 Tom Verlaine 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 Roy Ayers to the crunk kids.
I played it at CBGB's.
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 Pulsallama. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Silicon Teens,
Bad Manners,
Oppenheimer Analysis,
Stiv Bators,
Eric B and Rakim,
Amon Düül II,
Red Lorry Yellow Lorry,
Qualms,
Radio Birdman,
Tim Buckley,
Lucky Dragons,
Gerry Rafferty,
Bronski Beat,
Mission of Burma,
Zero Boys,
Spoonie Gee,
Nik Kershaw,
Boz Scaggs,
K-Klass,
F. McDonald,
Gabor Szabo,
Scan 7,
Urselle,
The Raincoats,
The Cowsills,
Gil Scott Heron,
The Happenings,
Major Organ And The Adding Machine,
Jacques Brel,
Henry Cow,
The Slits,
Ornette Coleman,
the Soft Cell,
Negative Approach,
Kaleidoscope,
Average White Band,
Super Lover Cee & Casanova Rud,
Make Up,
the Slits,
The Moleskins,
Roger Hodgson,
Eve St. Jones,
The Young Rascals,
the Sonics,
Infiniti,
Marshall Jefferson,
Kauko Röyhkä ja Narttu,
Yellowson,
Bush Tetras,
Accadde A,
Surgeon,
Jesper Dahlback,
Black Flag,
Ken Boothe,
Marcia Griffiths,
Kevin Saunderson,
Zapp,
The Blackbyrds,
Angry Samoans,
Bootsy's Rubber Band,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.