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 Ivory Coast and from Philadelphia.
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 1978.
I'm losing my edge.
To all the kids in Bologna and Halifax.
I'm losing my edge to the art-school Shanghai 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 Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Boredoms to the grunge kids.
I played it at the Spitz.
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 Eurythmics. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every The Smiths 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Traffic Nightmare,
Hasil Adkins,
Zapp,
Chris & Cosey,
The Motions,
Cal Tjader,
Marcia Griffiths,
Big Daddy Kane,
The Royal Family And The Poor,
Curtis Mayfield,
The Black Dice,
Bauhaus,
The Alarm Clocks,
The Divine Comedy,
New Age Steppers,
X-102,
Connie Case,
The Monks,
Radiohead,
8 Eyed Spy,
Stockholm Monsters,
The Doors,
Gang Gang Dance,
H. Thieme,
Shoche,
Buzzcocks,
Gregory Isaacs,
The Stooges,
Thompson Twins,
Los Fastidios,
The Fugs,
Radiopuhelimet,
Silicon Teens,
Gang Green,
Aural Exciters,
Hardrive,
The West Coast Pop Art Experimental Band,
Spandau Ballet,
Bang on a Can All-Stars,
Dr. Dre and Snoop Doggy Dog,
Motorama,
kango's stein massive,
Visage,
Electric Light Orchestra,
Lizzy Mercier Descloux,
Excepter,
the Association,
Dark Day,
Delon & Dalcan,
Roxy Music,
John Lydon,
The Dirtbombs,
Leonard Cohen,
Tropical Tobacco,
Second Layer,
Graham Central Station,
Ken Boothe,
Selector Dub Narcotic,
Swell Maps,
Liliput,
Sun Ra Arkestra,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.