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 Finland and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Portland 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 güiro 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 Khruangbin to the disco 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 John Cale. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Susan Cadogan,
The Vogues,
The Searchers,
The Fortunes,
Sound Behaviour,
Fear,
Scott Walker,
Banda Bassotti,
Amon Düül,
The Associates,
Avey Tare's Slasher Flicks,
Urselle,
Black Moon,
Thompson Twins,
Flamin' Groovies,
Rhythm & Sound,
A Flock of Seagulls,
Suburban Knight,
Louis and Bebe Barron,
Rakim,
Peter Gordon & Love of Life Orchestra,
Fela Kuti,
Oblivians,
Nick Fraelich,
Radiopuhelimet,
Barrington Levy,
Derrick Morgan,
Josef K,
Soft Cell,
Sun Ra Arkestra,
Patti Smith,
David McCallum,
Boz Scaggs,
Symarip,
Organ,
Kurtis Blow,
Junior Murvin,
Sällskapet,
Bizarre Inc.,
Black Bananas,
Rod Modell,
The Evens,
Jacques Brel,
Niagra,
Simply Red,
The Fugs,
Neil Young,
The Index,
Art Ensemble Of Chicago,
Minny Pops,
Pagans,
Unwound,
Half Japanese,
Deutsch Amerikanische Freundschaft,
Idris Muhammad,
Sparks,
Dark Day,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.