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 Chad and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school London 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 organ sounds with much patience.
I was there when Michael McDonald 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 Leonard Cohen to the grime kids.
I played it at the Astoria.
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 Ken Boothe. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal techno 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 a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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 Victims,
Gil Scott-Heron & Brian Jackson,
PIL,
Echospace,
Oppenheimer Analysis,
Public Image Ltd.,
Lee Hazlewood,
Jeff Lynne,
Neil Young & Crazy Horse,
F. McDonald,
The Fire Engines,
The Associates,
Pierre Henry,
Absolute Body Control,
Ajijia Myrayebe,
Larry & the Blue Notes,
Stiv Bators,
The Zeros,
The Stooges,
Rhythm & Sound,
Duran Duran,
Half Japanese,
Pet Shop Boys,
Bluetip,
Fatback Band,
Crash Course in Science,
Kaleidoscope,
Japan,
The Trojans,
Kango’s Stein Massive,
Hardrive,
A Certain Ratio,
Rufus Thomas,
Jacques Brel,
Das Ding,
Faraquet,
Symarip,
Agitation Free,
Donny Hathaway,
Sonic Youth,
Vaughan Mason & Crew,
Television,
Eric Dolphy,
Traffic Nightmare,
Wighnomy Brothers & Robag Wruhme,
Peter & Gordon,
Country Teasers,
Swell Maps,
Sound Behaviour,
La Düsseldorf,
The Buckinghams,
Brass Construction,
Alton Ellis,
AZ,
Captain Beefheart & His Magic Band,
Gastr Del Sol,
MC5,
the Germs,
Joe Finger,
Quando Quango,
These Immortal Souls,
Jawbox, Jawbox, Jawbox, Jawbox.
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.