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 Indonesia and from Seoul.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Rod Modell to the techno kids.
I played it at the Roxy.
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 Moby Grape. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Janne Schatter,
Erasure,
It's A Beautiful Day,
June of 44,
B.T. Express,
Andrew Ashong & Theo Parrish,
Sun Ra,
a-ha,
Gary Puckett & The Union Gap,
Mandrill,
Crispy Ambulance,
Rosa Yemen,
Gil Scott-Heron and Jamie xx,
Magazine,
Brick,
Hashim,
Jesper Dahlback,
Scratch Acid,
Grandmaster Flash,
Grey Daturas,
These Immortal Souls,
Massinfluence,
Dorothy Ashby,
Glenn Branca,
The Seeds,
Sun City Girls,
Symarip,
Rites of Spring,
The Mummies,
Underground Resistance,
Malaria!,
The Neon Judgement,
Smog,
Richard Hell and the Voidoids,
MC5,
Lou Reed,
Juan Atkins,
Sister Nancy,
Kango’s Stein Massive,
Albert Ayler,
Pantaleimon,
The Cure,
Camouflage,
Avey Tare,
The Cramps,
Sly & The Family Stone,
Swans,
Ossler,
DJ Style,
Rotary Connection,
The Cowsills,
John Coltrane,
X-102,
Nik Kershaw,
Throbbing Gristle,
In Retrospect,
Maurizio,
James Chance & The Contortions,
AZ,
Major Organ And The Adding Machine,
Terrestrial Tones,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.