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 Guinea and from Manila.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Whodini to the grime kids.
I played it at the Astoria.
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 Echospace. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Radiohead 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Inner City,
Minor Threat,
Derrick May,
CMW,
Shuggie Otis,
Alice Coltrane,
The Chocolate Watch Band,
Von Mondo,
Gong,
The Durutti Column,
Flipper,
Cecil Taylor,
Bobby Hutcherson,
Animal Collective,
The Smoke,
Severed Heads,
Carl Craig,
Lalann,
Echo & the Bunnymen,
Lonnie Liston Smith,
Rowland S Howard / Lydia Lunch,
the Swans,
K-Klass,
T.S.O.L.,
Art Ensemble Of Chicago,
Aswad,
Wire,
Henry Cow,
Graham Central Station,
The Happenings,
Roy Ayers Ubiquity,
The Selecter,
Frankie Knuckles,
Albert Ayler,
Ten City,
Easy Going,
Angry Samoans,
The Techniques,
The Fire Engines,
Lebanon Hanover,
World's Most,
Ralphi Rosario,
Lou Reed & John Cale,
The Human League,
Schoolly D,
Niagra,
Ituana,
Liaisons Dangereuses,
Black Bananas,
Crash Course in Science,
The Barracudas,
Sällskapet,
The Trojans,
Super Lover Cee & Casanova Rud,
ABBA,
Roxette,
Eric Copeland,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.