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 Andorra and from Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 The Fugs to the grime 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 The Busters. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Lungfish,
The Fortunes,
The Zeros,
Rhythm & Sound,
Alice Coltrane,
Chris Corsano,
Pylon,
Hardrive,
Easy Going,
Boz Scaggs,
Los Fastidios,
Adolescents,
The Standells,
Harry Pussy,
Soul Sonic Force,
Symarip,
Monolake,
the Human League,
Oneida,
The Offenders,
Excepter,
One Last Wish,
Agent Orange,
The Gap Band,
Eric B and Rakim,
Section 25,
Jesper Dahlback,
The Angels of Light,
Eve St. Jones,
Juan Atkins,
Cymande,
The Gun Club,
Funkadelic,
Pete Rock & C.L. Smooth,
Minutemen,
8 Eyed Spy,
Marc Romboy vs. Booka Shade,
EPMD,
Panda Bear,
Kool Moe Dee,
Avey Tare,
Wasted Youth,
Outsiders,
Trumans Water,
Q65,
Henry Cow,
Suicide,
Mad Mike,
Big Daddy Kane,
Althea and Donna,
Terror Squad Feat. Camron,
Jeru the Damaja,
Gary Puckett & The Union Gap,
Sly & The Family Stone,
Ash Ra Tempel,
Fat Boys,
Mary Jane Girls,
Pere Ubu,
Graham Central Station,
The Beau Brummels,
Godley & Creme,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.