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 Pakistan and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Copenhagen 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 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 Man Parrish to the grunge kids.
I played it at Cafe Wha.
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 Derrick May. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Eden Ahbez,
Sight & Sound,
The Alarm Clocks,
Camouflage,
Juan Atkins,
Neil Young & Crazy Horse,
Pete Rock & C.L. Smooth,
Susan Cadogan,
Porter Ricks,
The Slits,
Lizzy Mercier Descloux,
The Stooges,
Massinfluence,
John Lydon,
Intrusion,
Pere Ubu,
Heavy D & The Boyz,
Cameo,
The Gun Club,
Subhumans,
Simply Red,
Maleditus Sound,
Gabor Szabo,
The Associates,
Kool G Rap & DJ Polo,
Girls At Our Best!,
Rufus Thomas,
Blancmange,
Young Marble Giants,
Skarface,
Trumans Water,
Gastr Del Sol,
Radio Birdman,
Aaron Thompson,
Bizarre Inc.,
Josef K,
Moebius,
Michelle Simonal,
Echo & the Bunnymen,
Pole,
The Dirtbombs,
Gil Scott-Heron and Jamie xx,
Hardrive,
Neu!,
Ronan,
Fugazi,
Flash Fearless,
Outsiders,
Q and Not U,
Saccharine Trust,
Black Sheep,
Frankie Knuckles,
Sun Ra Arkestra,
Anthony Braxton,
Model 500,
Blossom Toes,
Youth Brigade,
Tropical Tobacco,
Brick,
MDC, MDC, MDC, MDC.
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.