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 Liechtenstein and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Jakarta 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 sitar sounds with much patience.
I was there when Lou Reed 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 Pop Group to the crunk kids.
I played it at CBGB's.
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 Excepter. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Delta 5 record on German import.
I heard that you have a white label of every seminal grunge 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 a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Pharaoh Sanders and the Fire Engines,
Public Image Ltd.,
FM Einheit,
Fela Kuti,
Henry Cow,
Procol Harum,
Matthew Halsall,
The Residents,
DeepChord presents Echospace,
Brand Nubian,
Eve St. Jones,
Cybotron,
The United States of America,
Lucky Dragons,
One Last Wish,
Yellowson,
Joe Smooth,
Whodini,
Andrew Ashong & Theo Parrish,
The American Breed,
PIL,
Q and Not U,
The Velvet Underground,
Soft Cell,
Thee Headcoats,
Eddi Front,
Lonnie Liston Smith,
Unrelated Segments,
Fear,
Mandrill,
Can,
Lalo Schifrin,
The Slackers,
The Durutti Column,
Lakeside,
cv313,
DJ Sneak,
Inner City,
Rites of Spring,
Buzzcocks,
June Days,
Beasts of Bourbon,
The Sonics,
Gil Scott Heron,
Godley & Creme,
Hashim,
Intrusion,
Rowland S Howard / Lydia Lunch,
Masters at Work,
The Monochrome Set,
James White and The Blacks,
The Golliwogs,
Black Moon,
Ultramagnetic MC's,
The Dave Clark Five,
The Cramps,
Howard Jones,
Alice Coltrane,
Index,
Make Up,
JFA,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.