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 Saudi Arabia and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Seoul 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 808 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 Brand Nubian to the jazz 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 Al Stewart. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Depeche Mode 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Slave,
Notorious BIG live in Amsterdam,
In Retrospect,
Gil Scott-Heron & Brian Jackson,
X-Ray Spex,
Boogie Down Productions,
Ludus,
Bang on a Can All-Stars,
Simply Red,
Procol Harum,
Matthew Bourne,
Heaven 17,
Albert Ayler,
Siglo XX,
Kas Product,
Amon Düül II,
Yazoo,
Morten Harket,
Q65,
Glambeats Corp.,
Qualms,
Lightning Bolt,
Ronnie Foster,
Scion,
Oppenheimer Analysis,
Rufus Thomas,
Drive Like Jehu,
Art Ensemble Of Chicago,
Godley & Creme,
Sexual Harrassment,
Barclay James Harvest,
The Doobie Brothers,
Joe Finger,
Richard Hell and the Voidoids,
The Cure,
Jandek,
Sun City Girls,
John Holt,
Easy Going,
Lungfish,
Siouxsie and the Banshees,
Scratch Acid,
Kenny Larkin,
Spandau Ballet,
Gang Starr,
Delon & Dalcan,
Supertramp,
Suicide,
The Associates,
Todd Rundgren,
Hashim,
Anakelly,
Shuggie Otis,
The Fall,
Wolf Eyes,
Selector Dub Narcotic,
the Swans,
Frankie Knuckles,
Silicon Teens,
The Selecter,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.