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 Mauritania and from Bremen.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lagos and Manila.
I'm losing my edge to the art-school Delhi 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 chamberlin 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 Matthew Bourne to the disco kids.
I played it at the Roxy.
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 Sandy B. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Wally Richardson,
Dead Boys,
Inner City,
The Red Krayola,
Pulsallama,
Desert Stars,
Pole,
The Evens,
Sun City Girls,
the Human League,
Amon Düül II,
Rowland S Howard / Lydia Lunch,
Derrick Morgan,
Youth Brigade,
Bill Near,
The J.B.'s,
Al Stewart,
The Modern Lovers,
Captain Beefheart & His Magic Band,
Swans,
Vladislav Delay,
Fear,
Boz Scaggs,
Kool Moe Dee,
Colin Newman,
MC5,
Arcadia,
The Gun Club,
Ultimate Spinach,
Rhythim Is Rhythim,
Stiv Bators,
Bang on a Can All-Stars,
Peter & Gordon,
KRS-One,
Sunsets and Hearts,
Japan,
The Mummies,
The Real Kids,
Cluster,
The Happenings,
Yazoo,
Flamin' Groovies,
The Beau Brummels,
The Gap Band,
DJ Sneak,
Soft Cell,
Procol Harum,
Soul Sonic Force,
Drive Like Jehu,
Bang On A Can,
Hashim,
Fela Kuti,
Jeff Lynne,
Oppenheimer Analysis,
Kerrie Biddell,
Moss Icon,
Man Eating Sloth,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.