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 El Salvador and from Columbus.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Milan and Delhi.
I'm losing my edge to the art-school Milan 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Men They Couldn't Hang to the jazz kids.
I played it at the 40 Watt.
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 Justin Hinds & The Dominoes. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Peter and Kerry 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Man Parrish,
The Beau Brummels,
Eli Mardock,
The Remains,
Brand Nubian,
Gian Franco Pienzio,
Soft Machine,
Deepchord,
Terry Callier,
Piero Umiliani,
Electric Light Orchestra,
Sly & The Family Stone,
John Foxx,
Sonny Sharrock,
Rotary Connection,
Pole,
Saccharine Trust,
Kaleidoscope,
Avey Tare & Kría Brekkan,
Aaron Thompson,
Simply Red,
Yazoo,
The Jesus and Mary Chain,
The Velvet Underground,
Joy Division,
David Axelrod,
Black Bananas,
Clear Light,
The Durutti Column,
Harpers Bizarre,
Cluster,
The Toasters,
The Mighty Diamonds,
Robert Wyatt,
OOIOO,
Delon & Dalcan,
Wings,
Notorious BIG live in Amsterdam,
The Evens,
Minnie Riperton,
The Doors,
Lakeside,
Hasil Adkins,
Lightning Bolt,
DeepChord presents Echospace,
Khruangbin,
Maurizio,
Brass Construction,
Country Joe & The Fish,
Livin' Joy,
Sunsets and Hearts,
Eyeless In Gaza,
Beasts of Bourbon,
Echospace,
Kayak,
Country Teasers,
The Fugs,
Tommy Roe,
London Community Gospel Choir,
Bobby Womack,
a-ha, a-ha, a-ha, a-ha.
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.