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 Turkmenistan and from Edmonton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Bremen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Roy Ayers to the dance 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 Nils Olav. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Patti Smith record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Eden Ahbez,
Roxette,
Rekid,
Fort Wilson Riot,
Unwound,
Moebius,
Louis and Bebe Barron,
Girls At Our Best!,
Model 500,
Lower 48,
AZ,
Fear,
Franke,
The Smoke,
Godley & Creme,
John Holt,
Amon Düül II,
Frankie Knuckles,
Blancmange,
The Alarm Clocks,
Rapeman,
Jerry's Kids,
Bang on a Can All-Stars,
Rahsaan Roland Kirk,
Todd Terry,
Pere Ubu,
Soft Cell,
Von Mondo,
H. Thieme,
The Index,
Oppenheimer Analysis,
Steve Hackett,
Lalann,
The Fugs,
Marshall Jefferson,
Wire,
Toni Rubio,
Saccharine Trust,
Rowland S Howard / Lydia Lunch,
The Last Poets,
Aswad,
Fluxion,
Marc Almond,
Dennis Brown,
Avey Tare & Kría Brekkan,
Johnny Osbourne,
Country Teasers,
Captain Beefheart & His Magic Band,
The Angels of Light,
Lalo Schifrin,
10cc,
Notorious Big And Bone Thugs,
A Flock of Seagulls,
The Fuzztones,
Sixth Finger,
Rod Modell,
Supertramp,
Jeff Lynne,
Angry Samoans,
The Moody Blues,
China Crisis,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.