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 Israel and from Portland.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Albert Ayler to the jazz kids.
I played it at the Astoria.
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 The Dirtbombs. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
R.M.O.,
June of 44,
The Fortunes,
Jeru the Damaja,
Camouflage,
Crime,
LL Cool J,
DNA,
Motorama,
Roxy Music,
Eurythmics,
Hardrive,
Stockholm Monsters,
Matthew Bourne,
Sixth Finger,
DJ Style,
Jesper Dahlbäck,
T. Rex,
Gerry Rafferty,
The Kinks,
The Divine Comedy,
The Names,
The Mighty Diamonds,
The Velvet Underground,
The Five Americans,
Underground Resistance,
Andrew Ashong & Theo Parrish,
The Misunderstood,
The Peanut Butter Conspiracy,
The Monochrome Set,
Josef K,
The Residents,
Tubeway Army,
David McCallum,
Whodini,
David Bowie,
the Sonics,
Gang Starr,
Robert Görl,
Gary Puckett & The Union Gap,
Maurizio,
Nils Olav,
Magma,
Eve St. Jones,
Mr. Review,
The United States of America,
Chris & Cosey,
The Wake,
Scion,
Fifty Foot Hose,
Notorious BIG live in Amsterdam,
Selector Dub Narcotic,
10cc,
KRS-One,
Connie Case,
Lindisfarne,
Sexual Harrassment,
Joyce Sims,
Japan,
The Walker Brothers,
Tears for Fears,
Tim Buckley,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.