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 Bhutan and from Lille.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Hasil Adkins to the funk kids.
I played it at the Roxy.
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 Neon Judgement. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Oppenheimer Analysis,
The Gun Club,
10cc,
Clear Light,
Alison Limerick,
The Slackers,
Kerrie Biddell,
L. Decosne,
Supertramp,
Funky Four + One,
Icehouse,
The Tremeloes,
The Angels of Light,
Neu!,
Bill Wells,
Marc Almond,
The Black Dice,
Young Marble Giants,
Lee Hazlewood,
Arab on Radar,
a-ha,
Ultra Naté,
Stiv Bators,
Pet Shop Boys,
Massinfluence,
Camouflage,
Todd Terry,
The Durutti Column,
Black Sheep,
London Community Gospel Choir,
Television Personalities,
Barclay James Harvest,
Funkadelic,
Masters at Work,
Absolute Body Control,
Jerry's Kids,
Graham Central Station,
E-Dancer,
The Cramps,
Minnie Riperton,
The Doobie Brothers,
Ohio Players,
New Order,
The Cowsills,
Eve St. Jones,
Hasil Adkins,
Josef K,
Rhythm & Sound,
Toni Rubio,
Eli Mardock,
Connie Case,
The Skatalites,
Jandek,
The Blues Magoos,
Steve Hackett,
Aaron Thompson,
Accadde A,
Nils Olav,
Soulsonic Force,
Zapp, Zapp, Zapp, Zapp.
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.