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 Mexico and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1976.
I'm losing my edge.
To all the kids in Accra and Lagos.
I'm losing my edge to the art-school Philadelphia 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Gang Green to the grime kids.
I played it at the Spitz.
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 The Smiths. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb 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 arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
The Moleskins,
Liaisons Dangereuses,
Radiopuhelimet,
Grandmaster Flash,
Derrick Morgan,
The Grass Roots,
Wire,
Mandrill,
Dead Boys,
Teenage Jesus and the Jerks,
Dawn Penn,
Das Ding,
Popol Vuh,
Cameo,
Charles Mingus,
Fatback Band,
Erasure,
Subhumans,
ABC,
Quadrant,
Blake Baxter,
New York Dolls,
The Slackers,
Model 500,
Kenny Larkin,
Yazoo,
Johnny Osbourne,
Silicon Teens,
The Men They Couldn't Hang,
The Flesh Eaters,
Howard Jones,
Camron Feat. Memphis Bleek And Beenie Seigel,
David McCallum,
Alison Limerick,
Nation of Ulysses,
Sun Ra Arkestra,
a-ha,
Magma,
PIL,
The American Breed,
Junior Murvin,
Roger Hodgson,
Eddi Front,
Boz Scaggs,
Pulsallama,
Jesper Dahlbäck,
Magazine,
Gastr Del Sol,
Angry Samoans,
Piero Umiliani,
Blossom Toes,
Can,
EPMD,
The Knickerbockers,
The J.B.'s,
the Normal,
Notorious BIG live in Amsterdam,
Lizzy Mercier Descloux,
Public Image Ltd.,
The Five Americans,
Pantytec, Pantytec, Pantytec, Pantytec.
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.