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 Benin and from Madrid.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Jakarta.
I'm losing my edge to the art-school Mumbai 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 Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Reagan Youth to the crunk 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 Mandrill. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal crunk 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 a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Can,
Goldenarms,
Underground Resistance,
Aaron Thompson,
The Gladiators,
Leonard Cohen,
Bobby Womack,
Avey Tare,
Royal Trux,
The Fire Engines,
Wire,
Main Source,
Agent Orange,
Ralphi Rosario,
Parry Music,
In Retrospect,
Sly & The Family Stone,
Ossler,
Dead Boys,
Franke,
Eve St. Jones,
Glenn Branca,
Gabor Szabo,
Procol Harum,
Pharoah Sanders,
Louis and Bebe Barron,
Jeff Mills,
Simply Red,
DNA,
Soulsonic Force,
Judy Mowatt,
Joensuu 1685,
Howard Jones,
Yusef Lateef,
Amon Düül,
The Martian,
The Trojans,
T.S.O.L.,
Jacques Brel,
Kerrie Biddell,
Sparks,
The Pretty Things,
Minny Pops,
Urselle,
Dennis Brown,
CMW,
Lakeside,
Neu!,
Eric B and Rakim,
Maleditus Sound,
Toni Rubio,
Visionaries,LMNO, T- Love & Iriscience,
Ken Boothe,
Camouflage,
The Black Dice,
Alice Coltrane,
Marmalade,
Fat Boys,
Brass Construction,
The Angels of Light,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.