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 Chile and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Woodstock.
I'm losing my edge to the art-school Houston 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 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 Lou Reed to the crunk 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 Donald Byrd. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Crash Course in Science 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Livin' Joy,
Echospace,
Intrusion,
Index,
Rotary Connection,
Peter & Gordon,
Newcleus,
Amon Düül II,
Joyce Sims,
Man Parrish,
Minor Threat,
F. McDonald,
Monolake,
Josef K,
Gichy Dan,
Big Daddy Kane,
The Gun Club,
the Slits,
Jerry's Kids,
the Soft Cell,
Susan Cadogan,
Theoretical Girls,
Graham Central Station,
Tropical Tobacco,
Tim Buckley,
Hot Snakes,
Avey Tare & Kría Brekkan,
The Stooges,
Blancmange,
Jacob Miller,
The Gap Band,
Porter Ricks,
Blossom Toes,
Mo-Dettes,
Radiohead,
Soft Machine,
the Sonics,
Wings,
Underground Resistance,
Black Moon,
Guru Guru,
Shoche,
Mission of Burma,
Connie Case,
The Blackbyrds,
James White and The Blacks,
The Cure,
Minny Pops,
Camberwell Now,
Stetsasonic,
Manfred Mann's Earth Band,
48th St. Collective,
Cymande,
Bobby Sherman,
Surgeon,
Dead Boys,
The Smoke,
One Last Wish,
The Associates,
The West Coast Pop Art Experimental Band,
Lee Hazlewood,
JFA,
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.