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 Cameroon and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 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 The Mojo Men to the techno 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 PIL. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks 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?
The American Breed,
Kevin Saunderson,
Lou Christie,
Jerry Gold Smith,
Swell Maps,
Vainqueur,
Warsaw,
Jandek,
Motorama,
Half Japanese,
Bluetip,
Juan Atkins,
Robert Hood,
Bad Manners,
The Alarm Clocks,
The Litter,
Notorious Big And Bone Thugs,
Radio Birdman,
Sarah Menescal,
Surgeon,
Lee Hazlewood,
Pere Ubu,
Metal Thangz,
MC5,
Spandau Ballet,
Bauhaus,
kango's stein massive,
the Association,
Selector Dub Narcotic,
Tears for Fears,
Lucky Dragons,
Carl Craig,
Brass Construction,
Gang Gang Dance,
The Red Krayola,
Minnie Riperton,
Second Layer,
Prince Buster,
Anakelly,
Chris & Cosey,
Unrelated Segments,
Mission of Burma,
Funkadelic,
The Mummies,
Al Stewart,
Flash Fearless,
Monolake,
Jeff Mills,
Swans,
Jeff Lynne,
KRS-One,
Gregory Isaacs,
The Victims,
Wire,
Saccharine Trust,
Gabor Szabo,
The Blackbyrds,
ABC,
Das Ding,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.