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 Australia and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Lindisfarne to the funk kids.
I played it at the Astoria.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Barrington Levy 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 '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
the Bar-Kays,
Amazonics,
Laurel Aitken,
Deutsch Amerikanische Freundschaft,
Schoolly D,
Kerri Chandler,
Roy Ayers Ubiquity,
Maurizio,
A Certain Ratio,
Rowland S Howard / Lydia Lunch,
Scratch Acid,
Roy Ayers,
The Blues Magoos,
Grey Daturas,
Y Pants,
Drive Like Jehu,
JFA,
The Dead C,
Michelle Simonal,
Traffic Nightmare,
The Peanut Butter Conspiracy,
UT,
Marc Almond,
EPMD,
Hashim,
Ultravox,
Jerry's Kids,
New Age Steppers,
H. Thieme,
The United States of America,
Lou Reed,
Sonny Sharrock,
Howard Jones,
Lyres,
Marshall Jefferson,
Ronan,
The Smoke,
John Coltrane,
Teenage Jesus and the Jerks,
Bobby Byrd,
Basic Channel,
The Move,
Gabor Szabo,
Public Image Ltd.,
The Beau Brummels,
The Techniques,
The Sisters of Mercy,
Lou Christie,
The Shadows of Knight,
John Holt,
Johnny Clarke,
Silicon Teens,
Tropical Tobacco,
Flamin' Groovies,
Sun Ra Arkestra,
Junior Murvin,
Quantec,
Lalann,
Susan Cadogan,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.