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 Mongolia and from Paris.
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 1978.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Columbus 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 Lower 48 to the grunge 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 L. Decosne. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every La Düsseldorf 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Toni Rubio record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Bang On A Can,
Deadbeat,
Scrapy,
Newcleus,
Crash Course in Science,
The Music Machine,
David Bowie,
Alphaville,
Mission of Burma,
One Last Wish,
ABBA,
Avey Tare,
Roger Hodgson,
Tim Buckley,
Procol Harum,
Pussy Galore,
ABC,
the Soft Cell,
Joey Negro,
Qualms,
The Blues Magoos,
Simply Red,
Crispian St. Peters,
Pierre Henry,
OOIOO,
Graham Central Station,
Hot Snakes,
Moebius,
Deutsch Amerikanische Freundschaft,
Fatback Band,
Stiv Bators,
The Flesh Eaters,
Spandau Ballet,
Marc Romboy vs. Booka Shade,
Jerry Gold Smith,
Rotary Connection,
The Knickerbockers,
John Holt,
the Normal,
Yusef Lateef,
the Germs,
Cecil Taylor,
Faust,
Robert Görl,
Aaron Thompson,
Parry Music,
Lucky Dragons,
Outsiders,
Mars,
Radiopuhelimet,
Eli Mardock,
Don Cherry,
Babytalk,
Davy DMX,
Sly & The Family Stone,
Howard Jones,
Eric Copeland,
Sonic Youth,
Maurizio,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.