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 Japan and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Mexico City 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 clarinet 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 Matthew Bourne to the rock kids.
I played it at Cafe Wha.
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 Detroit Cobras. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
The Tremeloes,
Marmalade,
Easy Going,
Howard Jones,
David Bowie,
Cabaret Voltaire,
T.S.O.L.,
Visionaries,LMNO, T- Love & Iriscience,
The Music Machine,
Organ,
The Jesus and Mary Chain,
H. Thieme,
Mandrill,
Albert Ayler,
Anthony Braxton,
Ash Ra Tempel,
The Neon Judgement,
EPMD,
Hasil Adkins,
Rod Modell,
Kayak,
Kurtis Blow,
Reagan Youth,
Kool G Rap & DJ Polo,
Minutemen,
Depeche Mode,
Inner City,
Gastr Del Sol,
Marvin Gaye,
Eurythmics,
Jacques Brel,
Agitation Free,
The Real Kids,
June Days,
Boogie Down Productions,
Sam Rivers,
Arthur Verocai,
Eden Ahbez,
Sonny Sharrock,
Rotary Connection,
the Sonics,
Parry Music,
Silicon Teens,
The Last Poets,
Davy DMX,
The Dave Clark Five,
Negative Approach,
Essential Logic,
Freddie Wadling,
The Motions,
Ultra Naté,
The Busters,
Monolake,
Colin Newman,
Surgeon,
Fela Kuti,
Pantaleimon,
Lebanon Hanover,
Accadde A,
Dead Boys,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.