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 Turkmenistan and from Mumbai.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Paris and Lille.
I'm losing my edge to the art-school Lagos 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Slits to the dance kids.
I played it at CBGB's.
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 Soft Machine. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
The Walker Brothers,
Kool G Rap & DJ Polo,
Malaria!,
Kings Of Tomorrow,
The Blackbyrds,
The Five Americans,
Ten City,
The Music Machine,
Angels of Light & Akron/Family,
Simply Red,
Ponytail,
Popol Vuh,
Radiopuhelimet,
Bobby Hutcherson,
Agent Orange,
Lou Reed & Metallica,
Altered Images,
Pole,
Sun City Girls,
Mandrill,
Deepchord,
Minny Pops,
Joe Smooth,
Country Joe & The Fish,
Mad Mike,
Thompson Twins,
Bootsy Collins,
the Fania All-Stars,
Bronski Beat,
Alton Ellis,
Negative Approach,
Radiohead,
Pharoah Sanders,
Todd Terry,
Bang on a Can All-Stars,
Cabaret Voltaire,
Byron Stingily,
Cluster,
Andrew Ashong & Theo Parrish,
Bob Dylan,
Tim Buckley,
Clear Light,
Althea and Donna,
Mr. Review,
Tomorrow,
Scan 7,
K-Klass,
Nico,
Electric Light Orchestra,
Yellowson,
Cecil Taylor,
Derrick May,
The Velvet Underground,
Brass Construction,
Livin' Joy,
The Grass Roots,
Andrew Hill,
Darondo,
The United States of America,
Audionom,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.