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 Vanuatu and from Tehran.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Delhi and Paris.
I'm losing my edge to the art-school Lagos 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 mellotron 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 David Axelrod to the crunk kids.
I played it at the Troubador.
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 Divine Comedy. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Fire Engines,
Rahsaan Roland Kirk,
Shoche,
These Immortal Souls,
Tomorrow,
Cheater Slicks,
a-ha,
The Dead C,
Terry Callier,
Oneida,
The Fall,
Vaughan Mason & Crew,
Saccharine Trust,
The Cramps,
Big Daddy Kane,
Marcia Griffiths,
Cecil Taylor,
Notorious BIG live in Amsterdam,
The Durutti Column,
Scan 7,
X-Ray Spex,
The Zeros,
Freddie Wadling,
Silicon Teens,
Skaos,
Average White Band,
Pulsallama,
The Cosmic Jokers,
David Axelrod,
Thee Headcoats,
Stereo Dub,
The Knickerbockers,
Scott Walker,
Sun Ra Arkestra,
The American Breed,
Ohio Players,
Hardrive,
Stetsasonic,
Dorothy Ashby,
Jerry's Kids,
Quadrant,
The Fugs,
Pylon,
The Dirtbombs,
Ken Boothe,
Stockholm Monsters,
The Fortunes,
Make Up,
Moss Icon,
Rites of Spring,
Subhumans,
Joensuu 1685,
Avey Tare,
A Flock of Seagulls,
Symarip,
Lucky Dragons,
The Black Dice,
Warsaw,
Jawbox,
The J.B.'s,
10cc,
The Moody Blues,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.