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 United Kingdom and from Seoul.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Stockholm 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 Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 FM Einheit to the punk 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 Oblivians. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Amon Düül record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Alton Ellis,
the Bar-Kays,
Wings,
Reuben Wilson,
Agitation Free,
Camberwell Now,
The Zeros,
Hardrive,
Scion,
June Days,
The Count Five,
Altered Images,
The Mighty Diamonds,
Spandau Ballet,
Yaz,
Wolf Eyes,
Joy Division,
Inner City,
Essential Logic,
Junior Murvin,
Monks,
Minny Pops,
Justin Hinds & The Dominoes,
CMW,
La Düsseldorf,
Second Layer,
Beasts of Bourbon,
David Bowie,
Art Ensemble Of Chicago,
Roxette,
Simply Red,
Brass Construction,
Mark Hollis,
Black Bananas,
Rites of Spring,
The Velvet Underground,
U.S. Maple,
H. Thieme,
Aaron Thompson,
Circle Jerks,
Banda Bassotti,
Arab on Radar,
Swans,
Harry Pussy,
Erasure,
the Swans,
Suburban Knight,
Underground Resistance,
Jacob Miller,
Sun Ra Arkestra,
E-Dancer,
Matthew Halsall,
Kool G Rap & DJ Polo,
Hasil Adkins,
Jimmy McGriff,
The Raincoats,
Laurel Aitken,
Q and Not U,
Deepchord,
The Music Machine,
Unwound,
Lalann,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.