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 Sri Lanka and from Glasgow.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Winnipeg.
I'm losing my edge to the art-school Halifax 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 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Brick to the jazz kids.
I played it at Trash.
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 Fuzztones. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Pussy Galore,
Oneida,
Siglo XX,
Bob Dylan,
Buzzcocks,
the Soft Cell,
Althea and Donna,
Dark Day,
Groovy Waters,
Main Source,
MDC,
F. McDonald,
Second Layer,
Kas Product,
Tomorrow,
Soulsonic Force,
A Certain Ratio,
The Toasters,
Model 500,
Eddi Front,
Goldenarms,
Lou Reed,
Ludus,
The Barracudas,
The New Christs,
Agitation Free,
Moebius,
Laurel Aitken,
The Martian,
the Germs,
Kayak,
Skriet,
Drexciya,
Thompson Twins,
Wolf Eyes,
Todd Terry,
Pharaoh Sanders and the Fire Engines,
Lonnie Liston Smith,
Faraquet,
EPMD,
Grandmaster Flash,
Morten Harket,
Lindisfarne,
JFA,
The Beau Brummels,
The West Coast Pop Art Experimental Band,
Marc Romboy vs. Booka Shade,
Röyhkä ja Rättö ja Lehtisalo,
Jimmy McGriff,
Roy Ayers Ubiquity,
the Fania All-Stars,
Janne Schatter,
Spoonie Gee,
PIL,
The Trojans,
Ultimate Spinach,
Los Fastidios,
Motorama,
Lucky Dragons,
Pantaleimon,
Rapeman, Rapeman, Rapeman, Rapeman.
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.