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 Greece and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Bremen and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 Fatback Band to the disco 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 The West Coast Pop Art Experimental Band. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every 8 Eyed Spy 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Lalann,
The West Coast Pop Art Experimental Band,
The Residents,
Judy Mowatt,
The Men They Couldn't Hang,
Jawbox,
Roxette,
Camron Feat. Jay Z And Juelz,
The Beau Brummels,
Fatback Band,
The Buckinghams,
8 Eyed Spy,
Nation of Ulysses,
The Selecter,
Juan Atkins,
Godley & Creme,
The Move,
Camberwell Now,
X-102,
Sexual Harrassment,
Royal Trux,
Suburban Knight,
Black Pus,
Brass Construction,
The Gun Club,
The Real Kids,
Terrestrial Tones,
Ponytail,
Minny Pops,
Orchestral Manoeuvres in the Dark,
Bush Tetras,
Girls At Our Best!,
Scion,
The Flesh Eaters,
Scott Walker,
Hashim,
Young Marble Giants,
The Stooges,
Zero Boys,
Spandau Ballet,
Howard Jones,
Althea and Donna,
Soul Sonic Force,
The Toasters,
Pharoah Sanders,
Eden Ahbez,
Cal Tjader,
Deakin,
Guru Guru,
Stiv Bators,
Prince Buster,
Scan 7,
Eve St. Jones,
The Music Machine,
Joe Smooth,
Maleditus Sound,
Eyeless In Gaza,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.