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 St Lucia and from Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Salvador 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer 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 Notorious BIG live in Amsterdam to the techno 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 Radiohead. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal punk 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 a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Carl Craig,
Q65,
Qualms,
Pantaleimon,
Piero Umiliani,
Trumans Water,
Bootsy's Rubber Band,
Dorothy Ashby,
Audionom,
Susan Cadogan,
Masters at Work,
Idris Muhammad,
Sarah Menescal,
The Velvet Underground,
Prince Buster,
Eden Ahbez,
Massinfluence,
Section 25,
Chris Corsano,
a-ha,
AZ,
Boz Scaggs,
Lalo Schifrin,
Shoche,
The Victims,
Gregory Isaacs,
John Foxx,
Moby Grape,
Stockholm Monsters,
The United States of America,
Quadrant,
Robert Hood,
Rotary Connection,
Ultravox,
The Move,
Kayak,
Tom Boy,
Suburban Knight,
Flipper,
De La Soul & Jungle Brothers,
Aloha Tigers,
Adolescents,
Barclay James Harvest,
This Heat,
Kerri Chandler,
Heavy D & The Boyz,
James White and The Blacks,
PIL,
Röyhkä ja Rättö ja Lehtisalo,
Kurtis Blow,
Mission of Burma,
Rakim,
The Monks,
Jesper Dahlback,
Liaisons Dangereuses,
John Coltrane,
The Dead C,
Big Daddy Kane,
Morten Harket,
Urselle,
Harmonia, Harmonia, Harmonia, Harmonia.
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.