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 Greece and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school Manila 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 Robert Palmer 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 Half Japanese to the disco kids.
I played it at the Roxy.
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 Smog. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
The Victims,
The Velvet Underground,
Easy Going,
Cabaret Voltaire,
Kerrie Biddell,
Bill Wells,
Y Pants,
Model 500,
Black Flag,
Orchestral Manoeuvres in the Dark,
The Barracudas,
The Gladiators,
Marshall Jefferson,
Procol Harum,
Au Pairs,
Moby Grape,
Bang on a Can All-Stars,
Metal Thangz,
Amon Düül,
Avey Tare & Kría Brekkan,
John Holt,
The Peanut Butter Conspiracy,
Be Bop Deluxe,
Lonnie Liston Smith,
Hashim,
Bob Dylan,
The Birthday Party,
Arcadia,
Johnny Osbourne,
Mr. Review,
Monolake,
Fluxion,
Kool G Rap & DJ Polo,
Vaughan Mason & Crew,
Danielle Patucci,
Country Joe & The Fish,
Marmalade,
Public Image Ltd.,
Theoretical Girls,
Roy Ayers Ubiquity,
Terry Callier,
Pharoah Sanders,
The Monochrome Set,
Godley & Creme,
Rhythm & Sound,
Peter & Gordon,
a-ha,
Pete Rock & C.L. Smooth,
Harmonia,
Lower 48,
Symarip,
Supertramp,
Massinfluence,
Soft Machine,
Sad Lovers and Giants,
Goldenarms,
The Trojans,
Mark Hollis,
Q65,
Agent Orange,
Minnie Riperton,
The United States of America,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.