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 Guyana and from Manila.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Milan and Bremen.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 The Misunderstood to the grime 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 Black Moon. All the underground hits.
All Brass Construction 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 grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The New Christs,
Ralphi Rosario,
Sex Pistols,
Bob Dylan,
Big Daddy Kane,
Piero Umiliani,
Röyhkä ja Rättö ja Lehtisalo,
Jandek,
Sarah Menescal,
The Saints,
Al Stewart,
Wally Richardson,
L. Decosne,
Thompson Twins,
Gian Franco Pienzio,
James Chance & The Contortions,
The Names,
The Music Machine,
Connie Case,
Essential Logic,
The Fall,
Anthony Braxton,
Radiopuhelimet,
The Move,
Rites of Spring,
Deadbeat,
Kerrie Biddell,
The Young Rascals,
Ultramagnetic MC's,
Royal Trux,
Boz Scaggs,
Harry Pussy,
Severed Heads,
Sunsets and Hearts,
Nik Kershaw,
Junior Murvin,
Audionom,
MC5,
Frankie Knuckles,
Scion,
One Last Wish,
Peter Gordon & Love of Life Orchestra,
the Fania All-Stars,
The Doobie Brothers,
Maleditus Sound,
Lou Reed & Metallica,
Nas,
Zapp,
Mad Mike,
Major Organ And The Adding Machine,
Camberwell Now,
MDC,
Adolescents,
Skriet,
Desert Stars,
Black Sheep,
Nation of Ulysses,
Siouxsie and the Banshees,
Lalo Schifrin,
Minor Threat,
Dual Sessions,
The Modern Lovers,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.