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 United Kingdom and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Paris 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Victims to the punk 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 UT. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
UT,
Robert Hood,
Sad Lovers and Giants,
Guru Guru,
Mission of Burma,
Wighnomy Brothers & Robag Wruhme,
Thinking Fellers Union Local 282,
Q and Not U,
Beasts of Bourbon,
Motorama,
Sonic Youth,
The Doors,
Strawberry Alarm Clock,
Grandmaster Flash and the Furious Five,
The Residents,
The Cramps,
Absolute Body Control,
Piero Umiliani,
Steve Hackett,
Echo & the Bunnymen,
Lou Christie,
Black Moon,
Main Source,
Scott Walker,
the Normal,
Joey Negro,
Eric B and Rakim,
James Chance & The Contortions,
Graham Central Station,
Roxy Music,
Harry Pussy,
Ultimate Spinach,
Fat Boys,
Lou Reed & Metallica,
OOIOO,
Scratch Acid,
Gong,
Glenn Branca,
Bootsy Collins,
Sister Nancy,
The Knickerbockers,
Sam Rivers,
Boredoms,
X-102,
The Saints,
The Skatalites,
Michelle Simonal,
Zero Boys,
Bobby Sherman,
Essential Logic,
Eden Ahbez,
Fear,
The Moleskins,
Carl Craig,
The Dave Clark Five,
Bad Manners,
The Vogues,
Bobbi Humphrey,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.