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 Delhi.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Accra 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 organ sounds with much patience.
I was there when David Bowie 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 Flamin' Groovies to the jazz kids.
I played it at the Roxy.
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 This Heat. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
the Bar-Kays,
Zapp,
FM Einheit,
John Cale,
Interpol,
Mandrill,
Quantec,
Harpers Bizarre,
The Searchers,
Byron Stingily,
Aswad,
The Jesus and Mary Chain,
the Swans,
The Motions,
The Vogues,
Amazonics,
Funkadelic,
Buzzcocks,
Yusef Lateef,
Gichy Dan,
Marc Almond,
Susan Cadogan,
Monks,
Spandau Ballet,
Notorious Big And Bone Thugs,
Blossom Toes,
Lizzy Mercier Descloux,
Cecil Taylor,
Flamin' Groovies,
Eric Dolphy,
Freddie Wadling,
A Certain Ratio,
Organ,
Sam Rivers,
Major Organ And The Adding Machine,
Thinking Fellers Union Local 282,
DNA,
Ash Ra Tempel,
Radiohead,
Eli Mardock,
Duran Duran,
Stockholm Monsters,
Scott Walker,
Slave,
Tears for Fears,
Scrapy,
CMW,
Alice Coltrane,
The Blackbyrds,
The Selecter,
The Detroit Cobras,
Bauhaus,
Ludus,
Leonard Cohen,
Gary Puckett & The Union Gap,
Ronan,
Sixth Finger,
Wasted Youth,
The Seeds,
Deutsch Amerikanische Freundschaft,
Kerri Chandler,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.