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 Syria and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Jesper Dahlbäck to the dance 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 Slick Rick. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every The Real Kids 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Stiv Bators,
The Fugs,
Avey Tare,
Barry Ungar,
Cluster,
Bauhaus,
FM Einheit,
James Chance & The Contortions,
Japan,
Niagra,
Nas,
ABC,
Blancmange,
Super Lover Cee & Casanova Rud,
Scratch Acid,
Throbbing Gristle,
The Mighty Diamonds,
H. Thieme,
B.T. Express,
Warren Ellis,
Ossler,
The Gap Band,
Johnny Clarke,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Skarface,
Black Bananas,
Eddi Front,
Susan Cadogan,
Organ,
Kas Product,
Tubeway Army,
Beasts of Bourbon,
Pole,
Manfred Mann's Earth Band,
U.S. Maple,
Tommy Roe,
Joensuu 1685,
Robert Wyatt,
Todd Terry,
Soft Machine,
Inner City,
Lindisfarne,
Country Joe & The Fish,
Hasil Adkins,
Traffic Nightmare,
Mars,
Quando Quango,
E-Dancer,
Nico,
The Gladiators,
KRS-One,
Marcia Griffiths,
Sam Rivers,
Gong,
Popol Vuh,
Amazonics,
Maleditus Sound,
Angels of Light & Akron/Family,
Tim Buckley,
the Bar-Kays,
The Dead C,
Deakin, Deakin, Deakin, Deakin.
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.