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 Chad and from Tokyo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 rhodes 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 The Jesus and Mary Chain to the electroclash kids.
I played it at the Crocodile.
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 F. McDonald. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Laurel Aitken,
Barclay James Harvest,
Gil Scott Heron,
Barbara Tucker,
The Blues Magoos,
Funkadelic,
Crispy Ambulance,
Babytalk,
World's Most,
Chris & Cosey,
Nick Fraelich,
Bush Tetras,
John Cale,
Marvin Gaye,
Art Ensemble Of Chicago,
Grandmaster Flash and the Furious Five,
Joe Finger,
The Offenders,
Rakim,
Juan Atkins,
Girls At Our Best!,
Motorama,
Alice Coltrane,
Panda Bear,
Sun City Girls,
Amon Düül,
Joensuu 1685,
Spandau Ballet,
The Cramps,
F. McDonald,
Hoover,
Joyce Sims,
T.S.O.L.,
Electric Light Orchestra,
Albert Ayler,
Ash Ra Tempel,
The Evens,
The Move,
Agent Orange,
Little Man,
Rod Modell,
Hasil Adkins,
the Fania All-Stars,
Gichy Dan,
Alton Ellis,
Suicide,
Altered Images,
Theoretical Girls,
Essential Logic,
Moss Icon,
Fear,
Jeff Mills,
Minor Threat,
Lungfish,
Amazonics,
Blossom Toes,
Unrelated Segments,
In Retrospect,
X-Ray Spex,
Rapeman,
The Dave Clark Five,
The Selecter, The Selecter, The Selecter, The Selecter.
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.