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 Kenya and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Houston 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 clarinet 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 Lizzy Mercier Descloux to the electroclash 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 The Men They Couldn't Hang. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
the Slits,
Eric Dolphy,
Quantec,
Maurizio,
The Black Dice,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Black Bananas,
the Bar-Kays,
Shuggie Otis,
The Durutti Column,
Lee Hazlewood,
Shoche,
John Cale,
Richard Hell and the Voidoids,
Malaria!,
Swans,
Flash Fearless,
The Gap Band,
Rahsaan Roland Kirk,
The Buckinghams,
Strawberry Alarm Clock,
Jesper Dahlbäck,
Art Ensemble Of Chicago,
the Fania All-Stars,
Funkadelic,
Crispy Ambulance,
Reagan Youth,
Ten City,
Stiv Bators,
Skarface,
Audionom,
Pere Ubu,
Dual Sessions,
Subhumans,
Amon Düül,
Sun Ra Arkestra,
The Mighty Diamonds,
MC5,
The Victims,
The Cramps,
Bauhaus,
the Sonics,
Talk Talk,
Dark Day,
Parry Music,
Lafayette Afro Rock Band,
Joe Finger,
Circle Jerks,
The Fortunes,
Slave,
Mission of Burma,
Fela Kuti,
Drive Like Jehu,
Deutsch Amerikanische Freundschaft,
Tres Demented,
Faraquet,
Alphaville,
Rufus Thomas,
The Sound,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.