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 Malawi and from Calgary.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Spokane 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Brothers Johnson to the jazz kids.
I played it at CBGB's.
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 Franke. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Buzzcocks 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Mark Hollis,
The Gap Band,
Bootsy Collins,
Drexciya,
The Doors,
The Pretty Things,
Bang On A Can,
The Moleskins,
Tubeway Army,
Leonard Cohen,
Marcia Griffiths,
Fela Kuti,
Silicon Teens,
Pagans,
The Modern Lovers,
the Bar-Kays,
The Wake,
The Human League,
The Litter,
Stereo Dub,
Jeff Lynne,
Rod Modell,
Echo & the Bunnymen,
Little Man,
Wire,
the Association,
Infiniti,
Soul Sonic Force,
Rosa Yemen,
Vladislav Delay,
Derrick Morgan,
X-102,
Wasted Youth,
Basic Channel,
Lalann,
Thee Headcoats,
Crime,
The Dave Clark Five,
Ten City,
Gil Scott Heron,
Louis and Bebe Barron,
Tommy Roe,
Los Fastidios,
The Selecter,
Severed Heads,
Sexual Harrassment,
Bad Manners,
Pantytec,
Gang Starr,
Sad Lovers and Giants,
Michelle Simonal,
Ornette Coleman,
The Monochrome Set,
The Walker Brothers,
Stetsasonic,
Public Image Ltd.,
The Moody Blues,
Man Eating Sloth,
Laurel Aitken,
Groovy Waters,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.