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 Liberia and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Calgary 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 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 Gabor Szabo 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 Television. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Amon Düül II,
Bobby Sherman,
Barclay James Harvest,
Maurizio,
Black Sheep,
Deakin,
Robert Wyatt,
Niagra,
Anakelly,
Sam Rivers,
Monks,
The Alarm Clocks,
Masters at Work,
Theoretical Girls,
Brand Nubian,
Von Mondo,
Khruangbin,
The Raincoats,
Easy Going,
Echospace,
Hardrive,
Swans,
Yusef Lateef,
Dark Day,
Alison Limerick,
48th St. Collective,
CMW,
Animal Collective,
Max Romeo,
Outsiders,
The Knickerbockers,
Trumans Water,
Glambeats Corp.,
Kool Moe Dee,
Colin Newman,
Oppenheimer Analysis,
Symarip,
Suicide,
Sad Lovers and Giants,
Eve St. Jones,
Monolake,
Graham Central Station,
Bobby Hutcherson,
Röyhkä ja Rättö ja Lehtisalo,
Desert Stars,
John Coltrane,
Peter and Kerry,
Lou Reed & John Cale,
Altered Images,
the Soft Cell,
Panda Bear,
The Vogues,
MDC,
Bronski Beat,
Sexual Harrassment,
De La Soul & Jungle Brothers,
Davy DMX,
Amazonics,
Lakeside, Lakeside, Lakeside, Lakeside.
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.