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 Marshall Islands and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Toronto 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 güiro 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 The Modern Lovers to the jazz kids.
I played it at the Troubador.
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 Sonics. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Tom Boy,
The Seeds,
The Flesh Eaters,
Outsiders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric B and Rakim,
Eric Dolphy,
Lou Christie,
Little Man,
Suburban Knight,
E-Dancer,
Grandmaster Flash and the Furious Five,
Roy Ayers,
Pere Ubu,
Gian Franco Pienzio,
Theoretical Girls,
Art Ensemble Of Chicago,
Kerrie Biddell,
Robert Hood,
Marcia Griffiths,
Oblivians,
Yellowson,
UT,
a-ha,
Black Sheep,
Jandek,
The Move,
The Jesus and Mary Chain,
Marc Almond,
Ohio Players,
Mr. Review,
Freddie Wadling,
Half Japanese,
Gil Scott Heron,
Liliput,
Sister Nancy,
H. Thieme,
Rapeman,
The Tremeloes,
Ten City,
The Cowsills,
Michelle Simonal,
Albert Ayler,
The Smoke,
Jesper Dahlback,
Sun City Girls,
John Lydon,
The Fugs,
Animal Collective,
Quantec,
The Index,
Nas,
The Names,
MDC,
Ultra Naté,
Con Funk Shun,
Lafayette Afro Rock Band,
Mark Hollis,
Popol Vuh,
De La Soul & Jungle Brothers,
The Zeros, The Zeros, The Zeros, The Zeros.
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.