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 Guyana and from New York.
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 1979.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Beijing 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 Captain Beefheart 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 Andrew Ashong & Theo Parrish to the rap 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 Sparks. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Joey Negro,
The Buckinghams,
OOIOO,
The Red Krayola,
Althea and Donna,
The Divine Comedy,
Whodini,
Ultravox,
Notorious Big And Bone Thugs,
Duran Duran,
The Shadows of Knight,
Surgeon,
Liliput,
The Angels of Light,
The Slackers,
Vainqueur,
Gary Puckett & The Union Gap,
Skaos,
Drexciya,
Drive Like Jehu,
Absolute Body Control,
Nirvana,
A Certain Ratio,
Half Japanese,
The Walker Brothers,
Neu!,
Archie Shepp,
Arthur Verocai,
Ossler,
Rufus Thomas,
Roxette,
Lou Reed & Metallica,
Sarah Menescal,
Masters at Work,
The Raincoats,
Bluetip,
Fear,
Chris & Cosey,
Electric Prunes,
New York Dolls,
Rahsaan Roland Kirk,
Slave,
Junior Murvin,
Kerri Chandler,
the Sonics,
Dr. Dre and Snoop Doggy Dog,
Peter Gordon & Love of Life Orchestra,
Gregory Isaacs,
Fugazi,
Magazine,
Neil Young,
Idris Muhammad,
Eddi Front,
U.S. Maple,
Talk Talk,
Aaron Thompson,
Wire,
Pagans,
Dead Boys,
Gian Franco Pienzio,
Soft Machine,
Skarface,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.