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 Maldives and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 mellotron 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 Eddi Front to the funk 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 Das Ding. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Arab on Radar 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Ponytail,
Don Cherry,
The Grass Roots,
Japan,
Barclay James Harvest,
Cheater Slicks,
Audionom,
The Monochrome Set,
Index,
Kurtis Blow,
Reuben Wilson,
Hashim,
Quando Quango,
The Fuzztones,
Nas,
Echospace,
Anakelly,
Sound Behaviour,
Pantaleimon,
Saccharine Trust,
The Busters,
Carl Craig,
Tommy Roe,
Camberwell Now,
Supertramp,
The Neon Judgement,
Bronski Beat,
Popol Vuh,
The J.B.'s,
Jeru the Damaja,
The Mojo Men,
The Misunderstood,
Bill Wells,
Cal Tjader,
Wings,
Vaughan Mason & Crew,
LL Cool J,
Bobby Sherman,
Trumans Water,
Ohio Players,
Yaz,
Notorious Big And Bone Thugs,
Andrew Hill,
The Last Poets,
Grandmaster Flash and the Furious Five,
Silicon Teens,
48th St. Collective,
Fear,
Malaria!,
cv313,
Orchestral Manoeuvres in the Dark,
Sixth Finger,
The Chocolate Watch Band,
Lee Hazlewood,
Cybotron,
Sonny Sharrock,
The Dave Clark Five,
Rosa Yemen,
Juan Atkins,
JFA,
Drive Like Jehu,
DJ Sneak,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.