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 Costa Rica and from Woodstock.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Motions to the punk kids.
I played it at the Spitz.
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 Bang on a Can All-Stars. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Average White Band 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash 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?
Traffic Nightmare,
Kango’s Stein Massive,
The Residents,
The Moody Blues,
The United States of America,
John Holt,
Avey Tare's Slasher Flicks,
Kurtis Blow,
Brothers Johnson,
R.M.O.,
Surgeon,
Marmalade,
Marc Almond,
Big Daddy Kane,
Parry Music,
China Crisis,
Junior Murvin,
Kayak,
The Standells,
Urselle,
A Flock of Seagulls,
Quando Quango,
Pere Ubu,
Sam Rivers,
Gastr Del Sol,
E-Dancer,
cv313,
Scrapy,
Nick Cave & The Bad Seeds,
Joensuu 1685,
Avey Tare & Kría Brekkan,
The Searchers,
The Gories,
Lou Christie,
Bobby Sherman,
The Jesus and Mary Chain,
Tears for Fears,
The Stooges,
Flash Fearless,
Nation of Ulysses,
Amon Düül II,
Audionom,
Infiniti,
DNA,
Cal Tjader,
Nick Fraelich,
Wire,
The Invisible,
Whodini,
Saccharine Trust,
Be Bop Deluxe,
The Gun Club,
Jerry Gold Smith,
The Blues Magoos,
Camron Feat. Jay Z And Juelz,
Severed Heads,
Jeff Lynne,
K-Klass,
Pharaoh Sanders and the Fire Engines,
Sad Lovers and Giants,
The Durutti Column,
Erykah Badu,
DJ Sneak, DJ Sneak, DJ Sneak, DJ Sneak.
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.