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 Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1972.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Audionom to the dance 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 Max Romeo. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Pylon,
Amazonics,
Ohio Players,
Jesper Dahlbäck,
Idris Muhammad,
A Flock of Seagulls,
Flash Fearless,
John Lydon,
Delta 5,
Kool G Rap & DJ Polo,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
The Seeds,
Soft Cell,
Stiv Bators,
The Velvet Underground,
Jandek,
John Coltrane,
Rhythim Is Rhythim,
Junior Murvin,
Amon Düül II,
Man Parrish,
48th St. Collective,
The Pretty Things,
Scott Walker,
The Tremeloes,
X-Ray Spex,
Heaven 17,
Robert Görl,
The Monochrome Set,
AZ,
Rod Modell,
Bobby Byrd,
The Human League,
Rekid,
Louis and Bebe Barron,
E-Dancer,
The Cosmic Jokers,
James White and The Blacks,
CMW,
Max Romeo,
Circle Jerks,
Quantec,
Harry Pussy,
Gian Franco Pienzio,
Flamin' Groovies,
Red Lorry Yellow Lorry,
The Techniques,
Grandmaster Flash and the Furious Five,
Funky Four + One,
Niagra,
Average White Band,
Ultimate Spinach,
Bob Dylan,
The Fortunes,
Derrick Morgan,
Be Bop Deluxe,
These Immortal Souls,
T. Rex,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.