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 Hungary and from Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Bologna 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 linndrum 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 Peter and Kerry to the electroclash kids.
I played it at the 40 Watt.
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 The Fall. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal disco 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 a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Depeche Mode,
Robert Görl,
The Trojans,
Donald Byrd,
The Zeros,
James Chance & The Contortions,
Model 500,
Eli Mardock,
The J.B.'s,
Ultravox,
FM Einheit,
The Busters,
Pulsallama,
X-102,
The New Christs,
Terry Callier,
The Residents,
Stereo Dub,
OOIOO,
Donny Hathaway,
Sight & Sound,
Marmalade,
The Star Department,
Ten City,
Richard Hell and the Voidoids,
K-Klass,
Joe Smooth,
Crime,
Peter and Kerry,
La Düsseldorf,
Art Ensemble Of Chicago,
Nick Fraelich,
Sly & The Family Stone,
Scientists,
Banda Bassotti,
Flipper,
Gregory Isaacs,
The Names,
Average White Band,
Country Joe & The Fish,
Lalann,
Cluster,
Bang On A Can,
Sun City Girls,
Pole,
Intrusion,
Wire,
Gian Franco Pienzio,
Ohio Players,
LL Cool J,
Jerry Gold Smith,
Matthew Halsall,
Carl Craig,
The Martian,
Mo-Dettes,
Kauko Röyhkä ja Narttu,
Barclay James Harvest,
Bill Near,
Half Japanese,
The Doobie Brothers,
In Retrospect,
Avey Tare & Kría Brekkan,
The Velvet Underground,
The Knickerbockers,
The Happenings, The Happenings, The Happenings, The Happenings.
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.