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 Uruguay and from Manchester.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Tehran.
I'm losing my edge to the art-school Accra 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron 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 Johnny Osbourne 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 Joensuu 1685. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Model 500,
Peter Gordon & Love of Life Orchestra,
Thinking Fellers Union Local 282,
Rakim,
Animal Collective,
Oppenheimer Analysis,
Second Layer,
Man Parrish,
ABC,
Matthew Halsall,
Panda Bear,
Fad Gadget,
Barrington Levy,
The Chocolate Watch Band,
Main Source,
Massinfluence,
Grauzone,
Ultra Naté,
Lightning Bolt,
The Fire Engines,
Sonny Sharrock,
Jacques Brel,
Cluster,
The Raincoats,
Procol Harum,
Jandek,
Excepter,
Althea and Donna,
Slave,
The Alarm Clocks,
Joy Division,
Kurtis Blow,
Soft Cell,
Isaac Hayes,
Warren Ellis,
Quantec,
Aloha Tigers,
Sun Ra Arkestra,
MC5,
Scott Walker,
Japan,
The Music Machine,
The Buckinghams,
Todd Rundgren,
MDC,
Pere Ubu,
the Fania All-Stars,
Arthur Verocai,
The Tremeloes,
Joey Negro,
L. Decosne,
the Germs,
Judy Mowatt,
Flamin' Groovies,
Lindisfarne,
Angels of Light & Akron/Family,
Boz Scaggs,
Yusef Lateef,
Nils Olav,
10cc,
Smog, Smog, Smog, Smog.
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.