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 Grenada and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Milan and Lyon.
I'm losing my edge to the art-school Houston 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 organ 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 Rufus Thomas to the techno kids.
I played it at Cafe Wha.
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 Accadde A. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every The Gories 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
The Sisters of Mercy,
Jeff Lynne,
Roxy Music,
Gregory Isaacs,
World's Most,
Don Cherry,
Louis and Bebe Barron,
Cymande,
Drive Like Jehu,
DNA,
Mandrill,
Suburban Knight,
Model 500,
Rotary Connection,
The Beau Brummels,
Janne Schatter,
Brothers Johnson,
Procol Harum,
Joyce Sims,
Terrestrial Tones,
the Fania All-Stars,
Can,
U.S. Maple,
cv313,
Jawbox,
Loose Ends,
the Association,
Flash Fearless,
Johnny Osbourne,
Q and Not U,
Barclay James Harvest,
The Busters,
The Leaves,
Marshall Jefferson,
KRS-One,
Kas Product,
Selector Dub Narcotic,
These Immortal Souls,
The Move,
MC5,
Ultramagnetic MC's,
Von Mondo,
Animal Collective,
Super Lover Cee & Casanova Rud,
Organ,
The Skatalites,
Matthew Halsall,
The New Christs,
Negative Approach,
Jesper Dahlbäck,
The Toasters,
Groovy Waters,
Donald Byrd,
Gong,
Jacques Brel,
The Vogues,
The Detroit Cobras,
James Chance & The Contortions,
Mo-Dettes,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.