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 Dominican Republic and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1975.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 John Holt to the crunk kids.
I played it at the Spitz.
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 Bootsy Collins. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
Captain Beefheart & His Magic Band,
Eric Copeland,
Shuggie Otis,
Model 500,
The Walker Brothers,
Barry Ungar,
Country Joe & The Fish,
Jeru the Damaja,
Agitation Free,
Suburban Knight,
Skaos,
Gabor Szabo,
The Gories,
Howard Jones,
Derrick Morgan,
Hoover,
Magazine,
Icehouse,
Wings,
Janne Schatter,
Carl Craig,
Bobby Byrd,
Severed Heads,
Matthew Bourne,
Funky Four + One,
Richard Hell and the Voidoids,
The Raincoats,
E-Dancer,
Röyhkä ja Rättö ja Lehtisalo,
The Cure,
Scan 7,
The J.B.'s,
Roy Ayers Ubiquity,
The Divine Comedy,
the Soft Cell,
Nick Cave & The Bad Seeds,
Eyeless In Gaza,
Main Source,
The Skatalites,
Trumans Water,
Khruangbin,
Slick Rick,
DNA,
Underground Resistance,
The Velvet Underground,
Amon Düül,
Junior Murvin,
The Mighty Diamonds,
Reuben Wilson,
Bang On A Can,
Bob Dylan,
Stockholm Monsters,
Zero Boys,
Terror Squad Feat. Camron,
Blake Baxter,
Jesper Dahlbäck,
T.S.O.L.,
Stereo Dub,
Mr. Review,
Interpol,
Fort Wilson Riot,
Chrome, Chrome, Chrome, Chrome.
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.