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 Somalia and from Jakarta.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Nik Kershaw to the techno 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 Kauko Röyhkä ja Narttu. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roxette 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?
Goldenarms,
Scan 7,
James Chance & The Contortions,
Magazine,
The Pop Group,
The Count Five,
Angry Samoans,
Babytalk,
Average White Band,
Pharoah Sanders,
Stockholm Monsters,
Model 500,
Con Funk Shun,
Thinking Fellers Union Local 282,
Motorama,
Underground Resistance,
The Gap Band,
Vainqueur,
Gregory Isaacs,
The Gun Club,
A Flock of Seagulls,
Marine Girls,
Thee Headcoats,
The Dead C,
Lalann,
Brothers Johnson,
Kango’s Stein Massive,
Yazoo,
DeepChord presents Echospace,
John Holt,
The Gories,
the Association,
Josef K,
a-ha,
Erasure,
Darondo,
Johnny Clarke,
Monks,
Black Pus,
Minny Pops,
The Last Poets,
June of 44,
The Kinks,
Hoover,
Skriet,
Massinfluence,
Soulsonic Force,
Sarah Menescal,
Eve St. Jones,
Rod Modell,
Harpers Bizarre,
OOIOO,
The New Christs,
Soul II Soul,
Delta 5,
The Five Americans,
The Peanut Butter Conspiracy,
Joyce Sims,
Drexciya,
Radio Birdman,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.