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 New Zealand and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Portland 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Qualms to the dance 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 Notorious Big And Bone Thugs. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal jazz 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 a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Newcleus,
Ash Ra Tempel,
Yaz,
Country Joe & The Fish,
Anakelly,
Ludus,
Avey Tare's Slasher Flicks,
T. Rex,
Sound Behaviour,
Quando Quango,
Lakeside,
The Cowsills,
Darondo,
Nils Olav,
Gregory Isaacs,
The Golliwogs,
Franke,
Heaven 17,
Blake Baxter,
Lalann,
Rosa Yemen,
Agent Orange,
The Pretty Things,
Ken Boothe,
Crime,
Deutsch Amerikanische Freundschaft,
Lungfish,
Livin' Joy,
AZ,
The Dead C,
Soul II Soul,
Rahsaan Roland Kirk,
The Toasters,
A Flock of Seagulls,
Bronski Beat,
Malaria!,
Tropical Tobacco,
Mark Hollis,
Das Ding,
Moby Grape,
Los Fastidios,
Silicon Teens,
Jesper Dahlbäck,
Pete Rock & C.L. Smooth,
Mandrill,
Röyhkä ja Rättö ja Lehtisalo,
Maleditus Sound,
Animal Collective,
Dual Sessions,
Q65,
Barry Ungar,
Erykah Badu,
the Association,
Gong,
Skriet,
Judy Mowatt,
The Black Dice,
Sparks,
The Knickerbockers,
The Monks, The Monks, The Monks, The Monks.
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.