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 Macedonia and from Mumbai.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
I'm losing my edge to the art-school Lille 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 spring reverb 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 Ronan to the punk kids.
I played it at the Hacienda.
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 Lee Hazlewood. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Symarip,
The Sisters of Mercy,
Thompson Twins,
Electric Prunes,
Swell Maps,
The Pretty Things,
Reuben Wilson,
Lightning Bolt,
U.S. Maple,
the Bar-Kays,
Graham Central Station,
Wasted Youth,
The Evens,
Super Lover Cee & Casanova Rud,
Negative Approach,
Zero Boys,
Index,
John Holt,
Second Layer,
Reagan Youth,
D'Angelo,
Boogie Down Productions,
Avey Tare,
Art Ensemble Of Chicago,
Chris Corsano,
Khruangbin,
James Chance & The Contortions,
Robert Hood,
Bang On A Can,
Siouxsie and the Banshees,
Isaac Hayes,
Ronan,
Sam Rivers,
Kango’s Stein Massive,
Lyres,
The Young Rascals,
Pylon,
Fela Kuti,
Mad Mike,
Matthew Halsall,
Teenage Jesus and the Jerks,
The Golliwogs,
The Jesus and Mary Chain,
8 Eyed Spy,
Model 500,
Ituana,
Sister Nancy,
Peter Gordon & Love of Life Orchestra,
Suburban Knight,
The Peanut Butter Conspiracy,
Ultramagnetic MC's,
Half Japanese,
Unwound,
Black Bananas,
The Velvet Underground,
Brothers Johnson,
Alison Limerick,
Rosa Yemen,
Chris & Cosey,
Hasil Adkins,
Sarah Menescal,
Pussy Galore,
Organ, Organ, Organ, Organ.
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.