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 Djibouti and from Seoul.
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 1974.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Bremen 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 mellotron 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 The Shadows of Knight to the electroclash kids.
I played it at the 40 Watt.
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 Sad Lovers and Giants. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Eli Mardock,
Dual Sessions,
The Sound,
Throbbing Gristle,
The Modern Lovers,
MDC,
Lou Reed,
Bang On A Can,
Kings Of Tomorrow,
The Blues Magoos,
Arab on Radar,
The Misunderstood,
The Move,
Heavy D & The Boyz,
Royal Trux,
Rotary Connection,
New York Dolls,
Matthew Bourne,
Half Japanese,
Ultramagnetic MC's,
Warsaw,
Sällskapet,
Albert Ayler,
Minutemen,
Amazonics,
Be Bop Deluxe,
Can,
Tropical Tobacco,
Justin Hinds & The Dominoes,
Peter & Gordon,
Shuggie Otis,
Siglo XX,
Ultimate Spinach,
Hardrive,
Organ,
Average White Band,
Sam Rivers,
Letta Mbulu,
The Golliwogs,
Sarah Menescal,
The Men They Couldn't Hang,
Lyres,
Marc Romboy vs. Booka Shade,
Spandau Ballet,
The J.B.'s,
Todd Terry,
Television Personalities,
Wings,
Depeche Mode,
Magma,
Outsiders,
Marine Girls,
Anthony Braxton,
Traffic Nightmare,
Vainqueur,
Newcleus,
Bootsy's Rubber Band,
Tim Buckley,
Dark Day,
Lou Christie,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.