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 Korea South and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Calgary 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 rhodes 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 Chris Corsano to the dance kids.
I played it at the Troubador.
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 Bobby Hutcherson. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Faust,
Avey Tare's Slasher Flicks,
Donny Hathaway,
The Smiths,
Curtis Mayfield,
The Standells,
Mark Hollis,
Lucky Dragons,
The Litter,
The Zeros,
Panda Bear,
The Jesus and Mary Chain,
The Birthday Party,
Roxy Music,
Niagra,
Little Man,
Glenn Branca,
Cameo,
Teenage Jesus and the Jerks,
Pulsallama,
The Velvet Underground,
Technova,
Lyres,
The United States of America,
Silicon Teens,
Don Cherry,
Loose Ends,
Agitation Free,
Pantytec,
Aaron Thompson,
The Motions,
Angry Samoans,
Red Lorry Yellow Lorry,
Pole,
Mad Mike,
The Doobie Brothers,
Lou Reed & Metallica,
Patti Smith,
Aural Exciters,
The Monochrome Set,
Ornette Coleman,
Johnny Osbourne,
Tom Boy,
the Slits,
Joey Negro,
Dead Boys,
Terry Callier,
Jandek,
Roger Hodgson,
B.T. Express,
Black Bananas,
Fifty Foot Hose,
The Angels of Light,
Josef K,
Alice Coltrane,
Moss Icon,
Camouflage,
Yazoo,
The Cramps,
Dorothy Ashby,
Byron Stingily,
The Gun Club,
Japan, Japan, Japan, Japan.
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.