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 Taiwan and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Philadelphia 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Teasers to the electroclash 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 The Smiths. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Sun Ra Arkestra,
Anthony Braxton,
Public Enemy,
Lucky Dragons,
Porter Ricks,
Archie Shepp,
the Soft Cell,
Mark Hollis,
Delon & Dalcan,
Tommy Roe,
Blancmange,
La Düsseldorf,
Quadrant,
Anakelly,
Ultra Naté,
Liliput,
Roxy Music,
Liaisons Dangereuses,
X-101,
Hoover,
Vaughan Mason & Crew,
Fort Wilson Riot,
Lee Hazlewood,
Magma,
June of 44,
One Last Wish,
Swell Maps,
The Fuzztones,
kango's stein massive,
The Dead C,
Sparks,
The Birthday Party,
Los Fastidios,
Gil Scott Heron,
Oblivians,
Cybotron,
The Associates,
Wire,
The Human League,
Idris Muhammad,
Depeche Mode,
Massinfluence,
Gichy Dan,
Bootsy Collins,
John Lydon,
Erykah Badu,
Avey Tare's Slasher Flicks,
The Dave Clark Five,
The Fall,
The Barracudas,
Lonnie Liston Smith,
Jeff Mills,
The Stooges,
The Doors,
Ralphi Rosario,
Robert Görl,
Kayak,
Morten Harket,
Hasil Adkins,
Von Mondo,
8 Eyed Spy,
Second Layer,
Jawbox, Jawbox, Jawbox, Jawbox.
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.