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 South Sudan and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 Section 25 to the dance 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 Au Pairs. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
The Pretty Things,
Stereo Dub,
Moby Grape,
Qualms,
Jerry Gold Smith,
The Alarm Clocks,
Sly & The Family Stone,
De La Soul & Jungle Brothers,
Jeff Lynne,
Skarface,
Rapeman,
Hoover,
James Chance & The Contortions,
The Residents,
The Offenders,
The Electric Prunes,
Brand Nubian,
Porter Ricks,
Thinking Fellers Union Local 282,
The Monochrome Set,
Lightning Bolt,
Mark Hollis,
Mad Mike,
Popol Vuh,
CMW,
Slick Rick,
Skriet,
Liaisons Dangereuses,
X-102,
Heaven 17,
Blossom Toes,
Magazine,
Joensuu 1685,
Japan,
Vainqueur,
Rufus Thomas,
The Blues Magoos,
Tres Demented,
Suburban Knight,
Thompson Twins,
Jesper Dahlbäck,
Black Sheep,
Albert Ayler,
Ten City,
Joe Smooth,
Kevin Saunderson,
Sun Ra,
Fela Kuti,
The Count Five,
Von Mondo,
Main Source,
the Swans,
Cybotron,
Deutsch Amerikanische Freundschaft,
Fifty Foot Hose,
L. Decosne,
Crispy Ambulance,
Young Marble Giants,
Parry Music,
The Cowsills,
Simply Red, Simply Red, Simply Red, Simply Red.
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.