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 Algeria and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1979.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Manchester 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Glenn Branca to the grime kids.
I played it at the Spitz.
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 Pole. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Sad Lovers and Giants,
Jandek,
The Saints,
Cecil Taylor,
The Smoke,
Ken Boothe,
Television,
Mantronix,
Kenny Larkin,
The Human League,
Eyeless In Gaza,
Brick,
Fort Wilson Riot,
Michelle Simonal,
Country Joe & The Fish,
Quantec,
David Axelrod,
Moss Icon,
The Residents,
Siouxsie and the Banshees,
Fear,
Ludus,
Scratch Acid,
The Move,
The Zeros,
Sun Ra,
Skaos,
Pole,
Eve St. Jones,
Larry & the Blue Notes,
Tropical Tobacco,
Quadrant,
T.S.O.L.,
Audionom,
The Pop Group,
Todd Rundgren,
Rotary Connection,
Wasted Youth,
Bobby Sherman,
Jeru the Damaja,
Thee Headcoats,
Cameo,
Kaleidoscope,
Soulsonic Force,
Jawbox,
Duran Duran,
Tears for Fears,
Lalo Schifrin,
Robert Görl,
The West Coast Pop Art Experimental Band,
Bush Tetras,
Banda Bassotti,
Soul II Soul,
Jacques Brel,
Roy Ayers,
Adolescents,
Oneida,
Dawn Penn,
OOIOO,
B.T. Express,
the Human League,
Barrington Levy,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.