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 Armenia and from Houston.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lyon and Houston.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Dawn Penn to the jazz 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 Deakin. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Davy DMX 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
The Invisible,
Blossom Toes,
Livin' Joy,
Outsiders,
Amazonics,
Man Eating Sloth,
Hoover,
Brick,
Notorious Big And Bone Thugs,
David McCallum,
MC5,
Spoonie Gee,
Deepchord,
Yaz,
Hashim,
Young Marble Giants,
Morten Harket,
DNA,
The Birthday Party,
Tom Boy,
Ash Ra Tempel,
Organ,
Carl Craig,
Anthony Braxton,
Lucky Dragons,
DeepChord presents Echospace,
The Vogues,
Lalo Schifrin,
Model 500,
Glambeats Corp.,
Archie Shepp,
Richard Hell and the Voidoids,
Harpers Bizarre,
Notorious BIG live in Amsterdam,
Donny Hathaway,
Mr. Review,
Al Stewart,
The Mummies,
Thinking Fellers Union Local 282,
Albert Ayler,
Slave,
John Cale,
The Star Department,
The Pop Group,
Pussy Galore,
Tim Buckley,
The Associates,
K-Klass,
Avey Tare's Slasher Flicks,
Can,
Pagans,
Erasure,
Sun City Girls,
Stetsasonic,
Dual Sessions,
The Happenings,
Swans,
Rites of Spring,
Rufus Thomas,
Avey Tare,
Peter & Gordon,
X-102, X-102, X-102, X-102.
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.