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 Mexico and from Columbus.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Paris 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 sitar 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 The Chocolate Watch Band to the techno kids.
I played it at Cafe Wha.
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 Tres Demented. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Alice Coltrane,
the Swans,
The Fugs,
Angels of Light & Akron/Family,
Kas Product,
Boogie Down Productions,
David Axelrod,
Teenage Jesus and the Jerks,
Clear Light,
Deutsch Amerikanische Freundschaft,
Heavy D & The Boyz,
Scratch Acid,
Eric B and Rakim,
Bill Near,
Adolescents,
Andrew Ashong & Theo Parrish,
Faraquet,
Cymande,
Sunsets and Hearts,
Negative Approach,
Eric Dolphy,
F. McDonald,
Ajijia Myrayebe,
Black Sheep,
Brand Nubian,
Young Marble Giants,
Rahsaan Roland Kirk,
Kenny Larkin,
Kerri Chandler,
The Remains,
Dorothy Ashby,
Jeff Mills,
T.S.O.L.,
Girls At Our Best!,
Warsaw,
Lalann,
Cal Tjader,
Howard Jones,
Agitation Free,
Pole,
Marc Almond,
The Invisible,
The Victims,
London Community Gospel Choir,
the Slits,
ABBA,
Pantytec,
Scion,
Gil Scott Heron,
Sällskapet,
Fat Boys,
Beasts of Bourbon,
Colin Newman,
Isaac Hayes,
The Vogues,
Cluster,
Chris Corsano,
Country Teasers,
Graham Central Station,
D'Angelo,
Ohio Players,
Q65,
Scientists,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.