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 Syria and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 Bobby Byrd to the funk 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 Flash Fearless. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Lightning Bolt,
Man Parrish,
Moss Icon,
Marc Almond,
Leonard Cohen,
Siouxsie and the Banshees,
Cheater Slicks,
Thompson Twins,
Big Daddy Kane,
Country Joe & The Fish,
Aloha Tigers,
The American Breed,
Warsaw,
Boz Scaggs,
Magazine,
The Pop Group,
Jerry's Kids,
Arab on Radar,
The Gap Band,
Orchestral Manoeuvres in the Dark,
The Leaves,
The Moody Blues,
June Days,
Tim Buckley,
Ohio Players,
The Smiths,
The Associates,
Rhythim Is Rhythim,
Pagans,
F. McDonald,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sonny Sharrock,
Sam Rivers,
The Skatalites,
Soul II Soul,
Eve St. Jones,
Avey Tare's Slasher Flicks,
Lou Reed & Metallica,
Visage,
Television,
Ornette Coleman,
The Stooges,
Flash Fearless,
Kenny Larkin,
Aural Exciters,
Radio Birdman,
La Düsseldorf,
The Golliwogs,
the Normal,
Larry & the Blue Notes,
Groovy Waters,
Ossler,
Art Ensemble Of Chicago,
Trumans Water,
The Music Machine,
Archie Shepp,
David Bowie,
Gian Franco Pienzio,
Japan,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.