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 United Kingdom and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Milan 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 chamberlin 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 Eli Mardock to the grunge 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 Strawberry Alarm Clock. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Crooked Eye,
Popol Vuh,
Bobby Sherman,
Model 500,
Slave,
Neu!,
Skaos,
Robert Görl,
Bobby Womack,
Sound Behaviour,
Electric Prunes,
Bootsy Collins,
Radiohead,
Lyres,
Nick Fraelich,
Delta 5,
Country Joe & The Fish,
Average White Band,
Gong,
The Moody Blues,
Lou Reed & John Cale,
JFA,
Yaz,
Siouxsie and the Banshees,
Lee Hazlewood,
Tears for Fears,
Godley & Creme,
Fad Gadget,
FM Einheit,
Stereo Dub,
John Cale,
Eurythmics,
Surgeon,
Second Layer,
The Victims,
Kauko Röyhkä ja Narttu,
Joyce Sims,
Swell Maps,
Ornette Coleman,
Ajijia Myrayebe,
Alphaville,
Mo-Dettes,
Sällskapet,
Metal Thangz,
Eric B and Rakim,
Minor Threat,
Jesper Dahlback,
Bizarre Inc.,
Dawn Penn,
The Dave Clark Five,
Mantronix,
Flipper,
Nick Cave & The Bad Seeds,
Echospace,
Icehouse,
Swans,
Albert Ayler,
Adolescents,
Pete Rock & C.L. Smooth,
Althea and Donna,
Urselle,
Hot Snakes,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.