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 Turkmenistan and from Portland.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Manila and Lille.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar 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 The Dirtbombs to the techno kids.
I played it at Cafe Wha.
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 Rod Modell. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Ornette Coleman 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Angry Samoans,
The Remains,
Infiniti,
OOIOO,
Heavy D & The Boyz,
Sun City Girls,
The West Coast Pop Art Experimental Band,
Ohio Players,
Magazine,
Siouxsie and the Banshees,
Pantytec,
The Standells,
Amon Düül II,
a-ha,
Ten City,
Monolake,
The Fuzztones,
Alice Coltrane,
Patti Smith,
Deepchord,
Bob Dylan,
The Peanut Butter Conspiracy,
LL Cool J,
Lou Reed & John Cale,
Kayak,
X-Ray Spex,
Ronan,
Fluxion,
Thee Headcoats,
Gichy Dan,
Cymande,
Basic Channel,
Theoretical Girls,
Organ,
Guru Guru,
Major Organ And The Adding Machine,
The Neon Judgement,
The Move,
the Human League,
Lizzy Mercier Descloux,
Kerrie Biddell,
Gang of Four,
Glenn Branca,
Moss Icon,
Pharaoh Sanders and the Fire Engines,
Mission of Burma,
Johnny Clarke,
Marcia Griffiths,
The Men They Couldn't Hang,
The Toasters,
Crime,
Chris & Cosey,
Arab on Radar,
World's Most,
Tommy Roe,
the Slits,
Accadde A,
Joey Negro,
Skriet,
UT,
The Mummies,
Parry Music,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.