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 Latvia and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Eden Ahbez to the crunk kids.
I played it at the Roxy.
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 Doors. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Gerry Rafferty,
Sonic Youth,
Pharaoh Sanders and the Fire Engines,
Jimmy McGriff,
Interpol,
Darondo,
Fear,
Neu!,
The Cramps,
Second Layer,
Liaisons Dangereuses,
Skaos,
Vladislav Delay,
T.S.O.L.,
Skriet,
Basic Channel,
Infiniti,
the Association,
The Barracudas,
Henry Cow,
The Alarm Clocks,
Robert Hood,
The Black Dice,
Average White Band,
Alice Coltrane,
Marmalade,
Frankie Knuckles,
Juan Atkins,
Jeru the Damaja,
Urselle,
Pole,
Mars,
The Fuzztones,
The Residents,
Hasil Adkins,
48th St. Collective,
Bobby Byrd,
Charles Mingus,
Fela Kuti,
The Red Krayola,
Model 500,
Goldenarms,
Sight & Sound,
Eve St. Jones,
Wighnomy Brothers & Robag Wruhme,
Porter Ricks,
Gian Franco Pienzio,
The Divine Comedy,
The Leaves,
Bill Near,
Kango’s Stein Massive,
Arab on Radar,
Sun Ra Arkestra,
H. Thieme,
Nik Kershaw,
The Jesus and Mary Chain,
Dual Sessions,
Tropical Tobacco,
Smog,
Mantronix,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.