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 Vietnam 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 1968 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Stockholm 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 organ 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 Country Joe & The Fish to the techno 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 Ronnie Foster. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Cecil Taylor 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Stockholm Monsters,
The Doors,
Essential Logic,
L. Decosne,
Eric B and Rakim,
Lou Reed,
Dave Gahan,
the Normal,
Brick,
Kaleidoscope,
Pere Ubu,
Lebanon Hanover,
Boredoms,
James White and The Blacks,
Avey Tare & Kría Brekkan,
Nik Kershaw,
Jacob Miller,
Sight & Sound,
Japan,
Slave,
Mantronix,
Radio Birdman,
Funky Four + One,
The Star Department,
Throbbing Gristle,
Surgeon,
Louis and Bebe Barron,
The Detroit Cobras,
Marcia Griffiths,
Saccharine Trust,
Barry Ungar,
Joy Division,
Joey Negro,
Leonard Cohen,
Fort Wilson Riot,
Skaos,
Depeche Mode,
Blossom Toes,
Lalo Schifrin,
Magazine,
Panda Bear,
Simply Red,
The Jesus and Mary Chain,
Joe Smooth,
Deepchord,
The Modern Lovers,
The Cowsills,
Stiv Bators,
Hardrive,
Angels of Light & Akron/Family,
The Monks,
The Techniques,
Fugazi,
Alton Ellis,
Interpol,
Jeff Lynne,
The Dead C,
Absolute Body Control,
Chris Corsano,
Flipper,
Eric Dolphy,
Fatback Band,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.