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 Belgium and from London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Blossom Toes to the rock 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 Amazonics. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every MDC 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 '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Lebanon Hanover,
Boredoms,
Mary Jane Girls,
Graham Central Station,
Model 500,
De La Soul & Jungle Brothers,
Kevin Saunderson,
Q and Not U,
The Five Americans,
Barrington Levy,
Theoretical Girls,
Ice-T,
Lyres,
Soul II Soul,
The Invisible,
Scan 7,
Big Daddy Kane,
The Smoke,
Al Stewart,
Icehouse,
Angels of Light & Akron/Family,
Radio Birdman,
Sun City Girls,
Jimmy McGriff,
Funky Four + One,
It's A Beautiful Day,
John Lydon,
Unrelated Segments,
Avey Tare,
Idris Muhammad,
Underground Resistance,
Rod Modell,
Maurizio,
Isaac Hayes,
Andrew Hill,
The Dave Clark Five,
Andrew Ashong & Theo Parrish,
The Neon Judgement,
Yusef Lateef,
Frankie Knuckles,
Gabor Szabo,
Ponytail,
Moby Grape,
Ken Boothe,
Morten Harket,
U.S. Maple,
The Last Poets,
Grandmaster Flash,
Janne Schatter,
Black Pus,
Liaisons Dangereuses,
Sam Rivers,
The Golliwogs,
Soul Sonic Force,
Oblivians,
The Grass Roots,
Steve Hackett,
Bootsy Collins,
H. Thieme,
Iggy Pop,
Lafayette Afro Rock Band,
Brick, Brick, Brick, Brick.
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.