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 Gambia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 sitar 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 Jesper Dahlback to the techno kids.
I played it at the Troubador.
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 Amon Düül. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
The Cramps,
Yaz,
Jacques Brel,
Reuben Wilson,
The Saints,
Pharaoh Sanders and the Fire Engines,
Bizarre Inc.,
The Kinks,
Swell Maps,
The Last Poets,
The Evens,
Cameo,
Joe Finger,
Dark Day,
James Chance & The Contortions,
Faust,
Toni Rubio,
Dual Sessions,
Scion,
Echo & the Bunnymen,
Chris & Cosey,
The Vogues,
Barrington Levy,
Babytalk,
Marshall Jefferson,
Black Flag,
Eric Copeland,
Kas Product,
Kurtis Blow,
The Chocolate Watch Band,
The Gories,
Lou Reed & John Cale,
The Cosmic Jokers,
Avey Tare & Kría Brekkan,
Mission of Burma,
OOIOO,
Jeff Lynne,
Black Moon,
Half Japanese,
Sällskapet,
Infiniti,
Gil Scott-Heron and Jamie xx,
Rhythm & Sound,
One Last Wish,
Sonic Youth,
Wire,
Sun City Girls,
Bush Tetras,
Joensuu 1685,
Strawberry Alarm Clock,
The Fire Engines,
June of 44,
The Seeds,
LL Cool J,
Pulsallama,
Glenn Branca,
The Doors,
The Standells, The Standells, The Standells, The Standells.
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.