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 India and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Harpers Bizarre to the disco kids.
I played it at the Astoria.
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 Dead Boys. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
John Lydon,
The Misunderstood,
Ponytail,
Amon Düül,
Sonic Youth,
Peter & Gordon,
The Moleskins,
Niagra,
the Soft Cell,
The Mummies,
Todd Rundgren,
Average White Band,
Scott Walker + Sunn O))),
Flamin' Groovies,
It's A Beautiful Day,
The Walker Brothers,
Rotary Connection,
Japan,
Subhumans,
James Chance & The Contortions,
Q65,
The Gap Band,
Bobby Sherman,
Terry Callier,
Magazine,
Pharoah Sanders,
Severed Heads,
Throbbing Gristle,
Boredoms,
Moby Grape,
Siouxsie and the Banshees,
Deepchord,
Marcia Griffiths,
Albert Ayler,
Tears for Fears,
Johnny Clarke,
Jeff Lynne,
John Cale,
Amon Düül II,
Carl Craig,
New York Dolls,
Scrapy,
Jawbox,
The Red Krayola,
Pussy Galore,
Ken Boothe,
Ajijia Myrayebe,
Camberwell Now,
Barclay James Harvest,
Crime,
Kerri Chandler,
Easy Going,
Aloha Tigers,
The Chocolate Watch Band,
New Order,
Ituana,
Outsiders,
10cc,
Eyeless In Gaza,
Archie Shepp,
Radio Birdman,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.