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 Bangladesh and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Kenny Larkin to the jazz 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 Jacques Brel. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Ultimate Spinach,
Selector Dub Narcotic,
Rotary Connection,
H. Thieme,
The Sound,
Andrew Hill,
Cluster,
Public Enemy,
Donny Hathaway,
Heavy D & The Boyz,
The Fuzztones,
The Dead C,
The Dirtbombs,
Niagra,
Grey Daturas,
Brass Construction,
The Real Kids,
The Martian,
Soft Cell,
The Tremeloes,
Country Joe & The Fish,
Soulsonic Force,
The Gories,
Blancmange,
Kango’s Stein Massive,
Harpers Bizarre,
Joe Smooth,
Japan,
Wasted Youth,
Desert Stars,
The Flesh Eaters,
Toni Rubio,
Lalo Schifrin,
In Retrospect,
John Cale,
Kevin Saunderson,
The Fire Engines,
Ludus,
Tres Demented,
The Mighty Diamonds,
Ohio Players,
Rowland S Howard / Lydia Lunch,
Juan Atkins,
Flipper,
The Jesus and Mary Chain,
The Smoke,
The Skatalites,
Eli Mardock,
Soul II Soul,
Ornette Coleman,
Mars,
Pete Rock & C.L. Smooth,
La Düsseldorf,
Cameo,
Connie Case,
Eyeless In Gaza,
Circle Jerks,
Steve Hackett,
John Coltrane,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.