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 Afghanistan and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Tokyo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 Black Moon to the rap kids.
I played it at the Troubador.
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 D'Angelo. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Slick Rick,
Soft Machine,
Nick Cave & The Bad Seeds,
This Heat,
Hashim,
Idris Muhammad,
Alice Coltrane,
John Holt,
Aloha Tigers,
Depeche Mode,
Charles Mingus,
Popol Vuh,
Camouflage,
The Doobie Brothers,
Marc Almond,
Terrestrial Tones,
Make Up,
Oblivians,
Adolescents,
Roger Hodgson,
the Association,
Albert Ayler,
Lonnie Liston Smith,
Inner City,
The New Christs,
Harpers Bizarre,
Intrusion,
Steve Hackett,
Anthony Braxton,
Joe Smooth,
David Bowie,
The Divine Comedy,
T.S.O.L.,
Graham Central Station,
Mary Jane Girls,
X-Ray Spex,
The Evens,
The Offenders,
Scan 7,
Aswad,
Barclay James Harvest,
Scott Walker,
June of 44,
Patti Smith,
Ajijia Myrayebe,
Sam Rivers,
Sun Ra,
Tomorrow,
Moebius,
Tom Boy,
Monolake,
Carl Craig,
Suicide,
Pharoah Sanders,
Alphaville,
The Gap Band,
Cluster,
Kool G Rap & DJ Polo,
Schoolly D,
Heaven 17,
Bad Manners,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.