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 Italy and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Tokyo 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 harpsichord 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 Lakeside to the jazz 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 The Star Department. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Monochrome Set 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Sly & The Family Stone,
Idris Muhammad,
Swell Maps,
Camberwell Now,
Sexual Harrassment,
Alice Coltrane,
Oneida,
David McCallum,
Howard Jones,
The Knickerbockers,
Porter Ricks,
X-101,
Morten Harket,
Nico,
The Royal Family And The Poor,
Pagans,
The Jesus and Mary Chain,
the Fania All-Stars,
Qualms,
Intrusion,
Groovy Waters,
Avey Tare's Slasher Flicks,
Radiopuhelimet,
Barry Ungar,
Gabor Szabo,
Quando Quango,
The Cowsills,
The Tremeloes,
Kool Moe Dee,
Model 500,
Junior Murvin,
Ultravox,
Zero Boys,
Nick Cave & The Bad Seeds,
The Skatalites,
Glenn Branca,
Amon Düül,
Siouxsie and the Banshees,
The Raincoats,
The J.B.'s,
Cal Tjader,
Eric Dolphy,
The Standells,
The Cure,
Rufus Thomas,
Carl Craig,
Skarface,
Laurel Aitken,
The Litter,
the Human League,
Yazoo,
Pere Ubu,
a-ha,
Soul II Soul,
Los Fastidios,
Slave,
Blossom Toes,
The Last Poets,
U.S. Maple,
Kings Of Tomorrow,
The Stooges,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.