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 Azerbaijan and from Jakarta.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Madrid 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Mr. Review to the disco kids.
I played it at CBGB's.
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 Babytalk. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Roxette 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
The Mummies,
Soft Machine,
Peter Gordon & Love of Life Orchestra,
Eric Dolphy,
Crispy Ambulance,
Camouflage,
the Normal,
Negative Approach,
Brass Construction,
Kool Moe Dee,
One Last Wish,
Smog,
These Immortal Souls,
Ralphi Rosario,
Cheater Slicks,
Radio Birdman,
The Music Machine,
Roger Hodgson,
Mary Jane Girls,
Intrusion,
Scion,
Josef K,
Grauzone,
David McCallum,
Babytalk,
Hasil Adkins,
Ultramagnetic MC's,
Neu!,
AZ,
Brick,
Terrestrial Tones,
The Names,
The Blackbyrds,
Fifty Foot Hose,
Bill Near,
Orchestral Manoeuvres in the Dark,
Moss Icon,
The Walker Brothers,
Gil Scott-Heron & Brian Jackson,
Mad Mike,
the Fania All-Stars,
H. Thieme,
The Red Krayola,
Unwound,
Röyhkä ja Rättö ja Lehtisalo,
Gregory Isaacs,
Wally Richardson,
The Fire Engines,
Connie Case,
Yusef Lateef,
Be Bop Deluxe,
The Offenders,
Tres Demented,
The Royal Family And The Poor,
Nik Kershaw,
Maleditus Sound,
Eric B and Rakim,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.