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 Maldives and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 Tom Verlaine 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 Bob Dylan to the rock 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 Bang On A Can. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Rufus Thomas 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
The Fortunes,
Jeff Mills,
Freddie Wadling,
Second Layer,
Wire,
The West Coast Pop Art Experimental Band,
Soft Machine,
The Durutti Column,
Jacob Miller,
Fugazi,
Marcia Griffiths,
Lou Reed,
Gang Green,
Organ,
Sly & The Family Stone,
Electric Prunes,
Byron Stingily,
T.S.O.L.,
David McCallum,
Josef K,
The Velvet Underground,
Albert Ayler,
The Mojo Men,
Duran Duran,
The Moody Blues,
Lightning Bolt,
Masters at Work,
Grandmaster Flash and the Furious Five,
Rowland S Howard / Lydia Lunch,
The Associates,
Black Pus,
Neil Young,
Tres Demented,
Ultra Naté,
Soul II Soul,
Magma,
Nick Fraelich,
Cecil Taylor,
Vaughan Mason & Crew,
Deakin,
The Martian,
Maleditus Sound,
Bang on a Can All-Stars,
Crash Course in Science,
Whodini,
Tears for Fears,
Hoover,
Davy DMX,
The Pop Group,
the Sonics,
Pantaleimon,
Wings,
Angry Samoans,
Cybotron,
Flash Fearless,
Sparks,
Dennis Brown,
Tim Buckley,
Black Moon,
The Flesh Eaters,
Moebius, Moebius, Moebius, Moebius.
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.