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 Uganda and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Salvador 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 Holger Czukay 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 Sonny Sharrock to the crunk kids.
I played it at CBGB's.
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 Anthony Braxton. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Slave,
Peter & Gordon,
Barclay James Harvest,
Second Layer,
the Soft Cell,
The Standells,
E-Dancer,
Matthew Halsall,
Howard Jones,
Aloha Tigers,
The Knickerbockers,
Soft Cell,
Orchestral Manoeuvres in the Dark,
The West Coast Pop Art Experimental Band,
Supertramp,
U.S. Maple,
Dennis Brown,
Popol Vuh,
The Mighty Diamonds,
Be Bop Deluxe,
Stetsasonic,
The Divine Comedy,
Man Parrish,
CMW,
The Fall,
Arthur Verocai,
EPMD,
Lee Hazlewood,
John Holt,
The Kinks,
Pylon,
Subhumans,
Anakelly,
Khruangbin,
Dark Day,
Delta 5,
Roy Ayers Ubiquity,
Infiniti,
Young Marble Giants,
Drexciya,
Television Personalities,
Todd Rundgren,
Das Ding,
Lizzy Mercier Descloux,
Notorious BIG live in Amsterdam,
Basic Channel,
Japan,
48th St. Collective,
The Doors,
Sun Ra Arkestra,
Ohio Players,
The Jesus and Mary Chain,
The Men They Couldn't Hang,
Drive Like Jehu,
Porter Ricks,
The Star Department,
Funky Four + One,
The Invisible,
The Cramps,
Ponytail, Ponytail, Ponytail, Ponytail.
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.