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 Algeria and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Tokyo and Columbus.
I'm losing my edge to the art-school Tehran 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 synthesizer 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 Harmonia to the jazz kids.
I played it at the Astoria.
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 Stockholm Monsters. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Scratch Acid 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Cabaret Voltaire,
New Age Steppers,
Ossler,
A Certain Ratio,
Bobby Hutcherson,
Notorious Big And Bone Thugs,
Janne Schatter,
Rakim,
Graham Central Station,
Selector Dub Narcotic,
Swans,
David McCallum,
Archie Shepp,
Roxette,
The Alarm Clocks,
The New Christs,
The Raincoats,
Cameo,
Cal Tjader,
Wolf Eyes,
Electric Prunes,
Scientists,
Sugar Minott,
Eyeless In Gaza,
Avey Tare,
The Human League,
Banda Bassotti,
Drive Like Jehu,
Mad Mike,
Spoonie Gee,
Tropical Tobacco,
Amon Düül II,
The Toasters,
Lyres,
Delta 5,
Fifty Foot Hose,
U.S. Maple,
Easy Going,
X-Ray Spex,
Chrome,
Goldenarms,
Kerrie Biddell,
Dorothy Ashby,
World's Most,
Heavy D & The Boyz,
Depeche Mode,
Louis and Bebe Barron,
Accadde A,
cv313,
Qualms,
Average White Band,
Faraquet,
Unwound,
Y Pants,
Ralphi Rosario,
Kurtis Blow,
Pete Rock & C.L. Smooth,
The United States of America,
Schoolly D,
It's A Beautiful Day,
Barbara Tucker,
ABC, ABC, ABC, ABC.
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.