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 Taiwan and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Smoke to the crunk 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 Lebanon Hanover. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Loose Ends 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Joey Negro,
Pylon,
Lightning Bolt,
Lafayette Afro Rock Band,
Traffic Nightmare,
Smog,
Section 25,
Fela Kuti,
Jeff Lynne,
Tres Demented,
Swans,
Selector Dub Narcotic,
Howard Jones,
Camouflage,
Pierre Henry,
Deadbeat,
X-102,
Rufus Thomas,
Ohio Players,
the Association,
Danielle Patucci,
Flipper,
Max Romeo,
Nils Olav,
Barbara Tucker,
Pharaoh Sanders and the Fire Engines,
Bizarre Inc.,
Lindisfarne,
The Seeds,
Ituana,
Scion,
The Dave Clark Five,
Tears for Fears,
Rotary Connection,
The Kinks,
Deutsch Amerikanische Freundschaft,
Neu!,
Dark Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
JFA,
Kayak,
Bill Near,
Scratch Acid,
The Motions,
Toni Rubio,
Organ,
Pete Rock & C.L. Smooth,
Dead Boys,
Albert Ayler,
David McCallum,
Sun Ra Arkestra,
Bobby Womack,
Eden Ahbez,
Rahsaan Roland Kirk,
Anthony Braxton,
Visionaries,LMNO, T- Love & Iriscience,
Delon & Dalcan,
The Misunderstood,
Anakelly,
John Lydon,
Davy DMX,
Slave,
Barrington Levy,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.