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 Yemen and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the guitar 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 Bang on a Can All-Stars to the jazz kids.
I played it at the Troubador.
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 Derrick Morgan. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Black Moon,
The Fire Engines,
MDC,
The Wake,
Drexciya,
Scan 7,
Absolute Body Control,
Marshall Jefferson,
The Trojans,
The Toasters,
Beasts of Bourbon,
DJ Style,
Alphaville,
Niagra,
Drive Like Jehu,
This Heat,
Nas,
Mantronix,
Danielle Patucci,
Reagan Youth,
The Fortunes,
Magazine,
the Slits,
the Fania All-Stars,
The Smiths,
Angry Samoans,
Prince Buster,
Motorama,
Faraquet,
Man Parrish,
The Leaves,
Hasil Adkins,
Model 500,
Tubeway Army,
The Five Americans,
Fad Gadget,
Tom Boy,
Visionaries,LMNO, T- Love & Iriscience,
Country Teasers,
The Blues Magoos,
Au Pairs,
Malaria!,
The Black Dice,
The Victims,
Andrew Ashong & Theo Parrish,
Qualms,
Maleditus Sound,
Skriet,
Fela Kuti,
The Motions,
Flamin' Groovies,
Stockholm Monsters,
Theoretical Girls,
Yaz,
Delon & Dalcan,
Judy Mowatt,
Con Funk Shun,
Deutsch Amerikanische Freundschaft,
Guru Guru,
Todd Rundgren,
Gary Puckett & The Union Gap,
Arab on Radar,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.