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 Bahrain and from Houston.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school New York 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar 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 Gichy Dan to the punk 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 Monolake. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Hoover record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Absolute Body Control,
Heavy D & The Boyz,
Dawn Penn,
Marcia Griffiths,
Scratch Acid,
Ohio Players,
Robert Görl,
Be Bop Deluxe,
Major Organ And The Adding Machine,
Robert Hood,
Connie Case,
UT,
Wolf Eyes,
Barry Ungar,
Theoretical Girls,
The Sound,
Marine Girls,
John Foxx,
Pole,
Rowland S Howard / Lydia Lunch,
Depeche Mode,
Man Parrish,
Louis and Bebe Barron,
Amon Düül II,
The Fuzztones,
DJ Style,
Wally Richardson,
Symarip,
Maurizio,
The Names,
Quando Quango,
cv313,
Liaisons Dangereuses,
The Blues Magoos,
Khruangbin,
Rotary Connection,
The Velvet Underground,
Talk Talk,
Glambeats Corp.,
Outsiders,
Simply Red,
Country Joe & The Fish,
This Heat,
Kaleidoscope,
Desert Stars,
Thompson Twins,
the Human League,
The New Christs,
Graham Central Station,
Archie Shepp,
The Monochrome Set,
The Walker Brothers,
Eyeless In Gaza,
Jesper Dahlbäck,
The Birthday Party,
Angels of Light & Akron/Family,
Moby Grape,
Tres Demented,
Soul Sonic Force,
The Searchers, The Searchers, The Searchers, The Searchers.
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.