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 Czech Republic and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Jakarta 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 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 Moby Grape to the dance 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 Pretty Things. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal rock 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Sällskapet,
Big Daddy Kane,
The Moleskins,
Scott Walker,
Oppenheimer Analysis,
The United States of America,
Sun City Girls,
Hardrive,
Gong,
Drexciya,
Spandau Ballet,
Joensuu 1685,
Von Mondo,
Underground Resistance,
London Community Gospel Choir,
The Gun Club,
Henry Cow,
Soul II Soul,
Kaleidoscope,
Shuggie Otis,
John Lydon,
X-Ray Spex,
The Flesh Eaters,
Gerry Rafferty,
Major Organ And The Adding Machine,
Public Image Ltd.,
Connie Case,
Archie Shepp,
Groovy Waters,
Marmalade,
Arab on Radar,
48th St. Collective,
Delon & Dalcan,
Franke,
Audionom,
the Fania All-Stars,
Make Up,
Rekid,
The Beau Brummels,
Alison Limerick,
Justin Hinds & The Dominoes,
Soft Machine,
Quantec,
Bad Manners,
U.S. Maple,
Newcleus,
Harmonia,
Warsaw,
Cluster,
Liliput,
the Sonics,
Sandy B,
The Music Machine,
Subhumans,
The Knickerbockers,
Sun Ra Arkestra,
The Sonics,
Larry & the Blue Notes,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.