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 Austria and from Halifax.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Lille and Bremen.
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 spring reverb 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 Major Organ And The Adding Machine to the disco kids.
I played it at the Hacienda.
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 Archie Shepp. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every The Durutti Column 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 '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Liaisons Dangereuses,
These Immortal Souls,
Alton Ellis,
Albert Ayler,
Underground Resistance,
Curtis Mayfield,
Essential Logic,
The Fortunes,
Steve Hackett,
Kayak,
The Dirtbombs,
Au Pairs,
Minutemen,
cv313,
Jeff Mills,
Glambeats Corp.,
Bob Dylan,
Kool Moe Dee,
FM Einheit,
Stetsasonic,
The Trojans,
Kevin Saunderson,
Television,
Absolute Body Control,
Popol Vuh,
Richard Hell and the Voidoids,
Japan,
Angry Samoans,
Gil Scott-Heron & Brian Jackson,
Dorothy Ashby,
Cecil Taylor,
Ossler,
Bill Near,
Idris Muhammad,
The Moleskins,
Blancmange,
Jacob Miller,
The Mighty Diamonds,
The Star Department,
Motorama,
Dual Sessions,
Monolake,
James White and The Blacks,
Flipper,
New Age Steppers,
Q65,
Chris Corsano,
Pierre Henry,
David Axelrod,
Country Joe & The Fish,
Lucky Dragons,
The West Coast Pop Art Experimental Band,
China Crisis,
Flamin' Groovies,
Freddie Wadling,
Echo & the Bunnymen,
Sun City Girls,
Sällskapet,
Lindisfarne,
Black Sheep,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.