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 Portugal 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 1962 to 1973.
I'm losing my edge.
To all the kids in Lille and Houston.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Terry Callier to the disco 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 The Birthday Party. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Black Bananas 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Dark Day,
The Misunderstood,
Altered Images,
James Chance & The Contortions,
Tomorrow,
Panda Bear,
Frankie Knuckles,
The Doors,
The Beau Brummels,
Supertramp,
Tommy Roe,
Scan 7,
Ohio Players,
Subhumans,
Connie Case,
Jeff Lynne,
Sun Ra Arkestra,
The Selecter,
Andrew Ashong & Theo Parrish,
David McCallum,
China Crisis,
Sly & The Family Stone,
Siglo XX,
Delon & Dalcan,
Ituana,
These Immortal Souls,
The Index,
Beasts of Bourbon,
It's A Beautiful Day,
Lindisfarne,
Hoover,
Reagan Youth,
Barry Ungar,
The Electric Prunes,
Kenny Larkin,
Royal Trux,
Zapp,
Black Bananas,
Anthony Braxton,
F. McDonald,
Severed Heads,
the Bar-Kays,
Y Pants,
Lou Reed & Metallica,
Gil Scott-Heron and Jamie xx,
Warren Ellis,
Rod Modell,
Vladislav Delay,
Selector Dub Narcotic,
The Jesus and Mary Chain,
The Gun Club,
Sound Behaviour,
Louis and Bebe Barron,
Rhythim Is Rhythim,
Cameo,
The Tremeloes,
The Flesh Eaters,
The Sound,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.