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 St Kitts & Nevis and from Salvador.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Bill Near to the crunk kids.
I played it at the Crocodile.
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 Residents. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Fela Kuti,
Royal Trux,
The Angels of Light,
James Chance & The Contortions,
Scion,
The Dave Clark Five,
Tropical Tobacco,
Joy Division,
Röyhkä ja Rättö ja Lehtisalo,
B.T. Express,
Crispian St. Peters,
Alice Coltrane,
David Bowie,
Circle Jerks,
Big Daddy Kane,
Vladislav Delay,
The Last Poets,
U.S. Maple,
Stiv Bators,
EPMD,
Andrew Ashong & Theo Parrish,
Joe Smooth,
Black Pus,
The Cowsills,
The Velvet Underground,
Chris Corsano,
Con Funk Shun,
Godley & Creme,
Funkadelic,
Lyres,
Barclay James Harvest,
Kenny Larkin,
The Mummies,
Kerrie Biddell,
Young Marble Giants,
the Soft Cell,
Angry Samoans,
Crash Course in Science,
The Black Dice,
Notorious Big And Bone Thugs,
Joey Negro,
Be Bop Deluxe,
Leonard Cohen,
Kool Moe Dee,
Main Source,
Crime,
Tubeway Army,
Manfred Mann's Earth Band,
Wings,
John Foxx,
Gerry Rafferty,
Negative Approach,
Wally Richardson,
Audionom,
The Motions,
The Blues Magoos,
Von Mondo,
Lou Reed,
Crispy Ambulance,
Ralphi Rosario,
The J.B.'s,
The Litter, The Litter, The Litter, The Litter.
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.