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 Tanzania and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Connie Case to the dance kids.
I played it at CBGB's.
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 Rahsaan Roland Kirk. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Rod Modell,
Byron Stingily,
Warsaw,
Skriet,
The Walker Brothers,
Marshall Jefferson,
Lee Hazlewood,
Orchestral Manoeuvres in the Dark,
Piero Umiliani,
Jesper Dahlbäck,
DNA,
Country Joe & The Fish,
The Doors,
The Trojans,
Television,
Yusef Lateef,
the Association,
MC5,
Beasts of Bourbon,
New Age Steppers,
Sparks,
the Soft Cell,
Lalo Schifrin,
LL Cool J,
David McCallum,
Grey Daturas,
New York Dolls,
Fear,
Angry Samoans,
Saccharine Trust,
Dawn Penn,
Amon Düül II,
Whodini,
Robert Hood,
Q and Not U,
Bobby Hutcherson,
Ossler,
The Count Five,
Khruangbin,
Donald Byrd,
Lizzy Mercier Descloux,
Wire,
The Associates,
Rahsaan Roland Kirk,
Sonny Sharrock,
Franke,
The Mojo Men,
Cheater Slicks,
Oneida,
Stiv Bators,
Spoonie Gee,
Sunsets and Hearts,
Eric Dolphy,
B.T. Express,
kango's stein massive,
Throbbing Gristle,
Kenny Larkin,
Gichy Dan,
Rotary Connection,
The Stooges, The Stooges, The Stooges, The Stooges.
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.