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 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 1964 to 1974.
I'm losing my edge.
To all the kids in Columbus and Stockholm.
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 sitar sounds with much patience.
I was there when David Bowie 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 Marc Almond to the rock 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 Junior Murvin. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every John Holt 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Aaron Thompson,
Ornette Coleman,
the Association,
kango's stein massive,
Amazonics,
Amon Düül,
Jimmy McGriff,
Saccharine Trust,
Index,
Boogie Down Productions,
David Axelrod,
The Vogues,
The Gun Club,
The Associates,
Soft Machine,
Deepchord,
The Buckinghams,
the Germs,
Popol Vuh,
Bobby Womack,
Gregory Isaacs,
Fort Wilson Riot,
Fugazi,
The Cramps,
Lee Hazlewood,
Ultra Naté,
The Last Poets,
Eric Dolphy,
Unrelated Segments,
London Community Gospel Choir,
Janne Schatter,
Drexciya,
Avey Tare's Slasher Flicks,
Henry Cow,
Sixth Finger,
Alice Coltrane,
The United States of America,
Duran Duran,
8 Eyed Spy,
Cal Tjader,
The Sisters of Mercy,
Idris Muhammad,
The Electric Prunes,
Drive Like Jehu,
Cabaret Voltaire,
Hot Snakes,
The Tremeloes,
Man Parrish,
Super Lover Cee & Casanova Rud,
Wings,
Massinfluence,
Theoretical Girls,
Grandmaster Flash,
Johnny Osbourne,
Matthew Bourne,
F. McDonald,
Reuben Wilson,
The Kinks,
Eden Ahbez,
The Pretty Things,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.