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 Mauritius and from Taipei.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1968 at the first Can practice in a loft in Cologne.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Sugar Minott to the grime kids.
I played it at the 40 Watt.
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 Blake Baxter. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Easy Going 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Terry Callier,
Rhythm & Sound,
Camouflage,
Gastr Del Sol,
Traffic Nightmare,
Mary Jane Girls,
Marshall Jefferson,
Donny Hathaway,
The Cowsills,
Hot Snakes,
Amon Düül II,
L. Decosne,
Jandek,
U.S. Maple,
Liaisons Dangereuses,
Gil Scott-Heron and Jamie xx,
The Happenings,
Kerrie Biddell,
Judy Mowatt,
Big Daddy Kane,
Lou Christie,
Ice-T,
The United States of America,
Oppenheimer Analysis,
The Pop Group,
Gregory Isaacs,
The Residents,
Todd Terry,
Ken Boothe,
Godley & Creme,
The Count Five,
Country Joe & The Fish,
Bootsy's Rubber Band,
John Lydon,
The Standells,
The Motions,
Minutemen,
Sex Pistols,
Hoover,
Swans,
Rod Modell,
the Association,
Toni Rubio,
Larry & the Blue Notes,
Patti Smith,
Public Enemy,
Ralphi Rosario,
Marmalade,
Lou Reed,
Quando Quango,
Half Japanese,
Rahsaan Roland Kirk,
Kango’s Stein Massive,
Gil Scott-Heron & Brian Jackson,
The Move,
Brand Nubian,
Suburban Knight,
Animal Collective,
The Smoke,
Buzzcocks,
MDC,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.