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 Israel and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Lille.
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 marimba sounds with much patience.
I was there when Lou Reed 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 Shadows of Knight to the disco 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 the Normal. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Smog 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Jesper Dahlbäck,
Faraquet,
The Moleskins,
Ituana,
John Cale,
Derrick May,
Unwound,
Scrapy,
Deutsch Amerikanische Freundschaft,
The Fire Engines,
Slick Rick,
Fort Wilson Riot,
The Shadows of Knight,
Duran Duran,
Fugazi,
Hot Snakes,
Bobby Sherman,
Magazine,
The Pop Group,
Shoche,
Albert Ayler,
Oppenheimer Analysis,
China Crisis,
Crooked Eye,
The Last Poets,
Arcadia,
The Sonics,
La Düsseldorf,
Alison Limerick,
One Last Wish,
Gastr Del Sol,
The Fuzztones,
Country Teasers,
Bobbi Humphrey,
Public Image Ltd.,
Andrew Hill,
U.S. Maple,
Half Japanese,
Nick Cave & The Bad Seeds,
Monolake,
Royal Trux,
Camouflage,
Rotary Connection,
Moss Icon,
The Kinks,
the Sonics,
James Chance & The Contortions,
June of 44,
The Alarm Clocks,
Vainqueur,
Animal Collective,
Lindisfarne,
Scion,
Eyeless In Gaza,
The United States of America,
Minutemen,
Sad Lovers and Giants,
Matthew Bourne,
The Invisible, The Invisible, The Invisible, The Invisible.
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.