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 Bahrain and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Milan 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 güiro 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 Ituana to the electroclash kids.
I played it at the Troubador.
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 Sixth Finger. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Q65 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?
New Age Steppers,
It's A Beautiful Day,
Janne Schatter,
Pharaoh Sanders and the Fire Engines,
Kevin Saunderson,
The Names,
Henry Cow,
The Litter,
Barbara Tucker,
Albert Ayler,
Warren Ellis,
Panda Bear,
Dual Sessions,
Moby Grape,
Marshall Jefferson,
Liliput,
The Gap Band,
Niagra,
The Cosmic Jokers,
Sad Lovers and Giants,
Schoolly D,
Brass Construction,
Judy Mowatt,
Wings,
Crooked Eye,
Surgeon,
Neil Young,
the Association,
Lou Reed,
Ultravox,
John Cale,
48th St. Collective,
ABC,
cv313,
Sparks,
Y Pants,
Roxette,
Section 25,
Lebanon Hanover,
Blossom Toes,
Simply Red,
Scratch Acid,
Masters at Work,
Strawberry Alarm Clock,
Donald Byrd,
La Düsseldorf,
Warsaw,
Alice Coltrane,
Q and Not U,
Aloha Tigers,
Radio Birdman,
The Doobie Brothers,
Tears for Fears,
Manfred Mann's Earth Band,
The Standells,
Clear Light,
Camberwell Now,
Notorious Big And Bone Thugs,
Cameo,
Con Funk Shun,
Todd Rundgren,
Sight & Sound,
The Jesus and Mary Chain,
Public Image Ltd.,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.