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 Taiwan and from Tehran.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Kinks to the jazz kids.
I played it at the Hacienda.
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 Half Japanese. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Pet Shop Boys,
Bob Dylan,
Thee Headcoats,
The Star Department,
Lou Reed & John Cale,
Avey Tare,
Crash Course in Science,
MC5,
Sight & Sound,
Parry Music,
Chrome,
The Move,
Laurel Aitken,
Lalo Schifrin,
In Retrospect,
Amazonics,
Kaleidoscope,
The Electric Prunes,
The Toasters,
Rhythm & Sound,
Notorious Big And Bone Thugs,
AZ,
8 Eyed Spy,
Röyhkä ja Rättö ja Lehtisalo,
The Remains,
The Last Poets,
Lucky Dragons,
Absolute Body Control,
The Cramps,
Los Fastidios,
Slave,
John Cale,
Delta 5,
Eli Mardock,
James White and The Blacks,
Sex Pistols,
Quantec,
Television,
Janne Schatter,
Rod Modell,
Vainqueur,
Groovy Waters,
Peter Gordon & Love of Life Orchestra,
Lee Hazlewood,
Eve St. Jones,
The Gladiators,
Jeff Lynne,
Lizzy Mercier Descloux,
Lakeside,
Lungfish,
Big Daddy Kane,
Country Joe & The Fish,
Audionom,
James Chance & The Contortions,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
ABC,
The Young Rascals,
Yusef Lateef,
Super Lover Cee & Casanova Rud,
the Slits,
Agent Orange,
Sun Ra,
Wally Richardson,
Niagra, Niagra, Niagra, Niagra.
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.