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 Lithuania and from Portland.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
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 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 Traffic Nightmare to the rock kids.
I played it at the Spitz.
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 Inner City. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Urselle 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Soulsonic Force,
Oppenheimer Analysis,
Faraquet,
Scion,
JFA,
Roy Ayers Ubiquity,
Avey Tare,
Alice Coltrane,
Bobby Hutcherson,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Residents,
Rosa Yemen,
Siglo XX,
John Holt,
The Busters,
Amon Düül II,
The Wake,
Masters at Work,
Stockholm Monsters,
Ultra Naté,
Brick,
Moby Grape,
The Five Americans,
The Tremeloes,
The Stooges,
The Doors,
Pole,
Mo-Dettes,
Deadbeat,
Gang Starr,
Heavy D & The Boyz,
Underground Resistance,
Reagan Youth,
Patti Smith,
It's A Beautiful Day,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Bronski Beat,
Silicon Teens,
Roger Hodgson,
Ice-T,
Metal Thangz,
Minnie Riperton,
Fluxion,
Black Flag,
Soul II Soul,
Bill Wells,
the Human League,
Desert Stars,
Godley & Creme,
Easy Going,
the Bar-Kays,
Nick Cave & The Bad Seeds,
Joey Negro,
The Kinks,
Eric Dolphy,
Louis and Bebe Barron,
The Trojans,
Fad Gadget,
Electric Light Orchestra,
The Dave Clark Five,
The Detroit Cobras,
the Association, the Association, the Association, the Association.
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.