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 Senegal and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Madrid 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 Michael McDonald 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 Faust to the jazz 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 Teenage Jesus and the Jerks. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Robert Hood,
Jerry's Kids,
The Gladiators,
Spoonie Gee,
MC5,
Average White Band,
The Selecter,
The Fuzztones,
Alison Limerick,
The Beau Brummels,
Ronnie Foster,
World's Most,
Half Japanese,
The Vogues,
Duran Duran,
Kerrie Biddell,
Boogie Down Productions,
Oblivians,
Silicon Teens,
Jandek,
The Invisible,
Unrelated Segments,
Sarah Menescal,
Maleditus Sound,
Pet Shop Boys,
The Residents,
Matthew Halsall,
Eve St. Jones,
The Fire Engines,
Glambeats Corp.,
Q65,
Joensuu 1685,
Brothers Johnson,
The Walker Brothers,
The Barracudas,
Bobby Sherman,
Scratch Acid,
DeepChord presents Echospace,
Wolf Eyes,
Peter & Gordon,
Derrick May,
Neil Young,
Avey Tare's Slasher Flicks,
Pagans,
Electric Light Orchestra,
Lou Reed,
Goldenarms,
Funky Four + One,
Suburban Knight,
Magazine,
Ossler,
Graham Central Station,
LL Cool J,
Inner City,
Hot Snakes,
Patti Smith,
The Move,
The Index,
James Chance & The Contortions,
the Association,
The Busters,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.