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 Indonesia and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Delhi 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 güiro 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 Parry Music to the jazz kids.
I played it at Trash.
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 Glambeats Corp.. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Sex Pistols record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Darondo,
Ten City,
Cabaret Voltaire,
Peter Gordon & Love of Life Orchestra,
The Durutti Column,
MC5,
Pantaleimon,
The Red Krayola,
The Busters,
Bang On A Can,
The Men They Couldn't Hang,
Flamin' Groovies,
Junior Murvin,
Marcia Griffiths,
Blake Baxter,
Masters at Work,
The New Christs,
Teenage Jesus and the Jerks,
Gastr Del Sol,
Big Daddy Kane,
Skriet,
The Royal Family And The Poor,
the Swans,
Severed Heads,
Brick,
Chrome,
The Walker Brothers,
Stetsasonic,
Drexciya,
The Count Five,
Monks,
Cal Tjader,
Mary Jane Girls,
Aloha Tigers,
Nick Fraelich,
Nico,
Letta Mbulu,
Janne Schatter,
Ultravox,
Scan 7,
Quadrant,
Magazine,
Sarah Menescal,
Isaac Hayes,
T.S.O.L.,
Sun Ra,
Rites of Spring,
Shuggie Otis,
Glambeats Corp.,
Easy Going,
Inner City,
The Five Americans,
The Misunderstood,
Graham Central Station,
The American Breed,
Rod Modell,
Röyhkä ja Rättö ja Lehtisalo,
Glenn Branca,
ABC,
Yusef Lateef,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.