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 Namibia and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Portland.
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 chamberlin 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 Alphaville to the rap kids.
I played it at the Hacienda.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Teasers,
The Black Dice,
Camberwell Now,
Radio Birdman,
Monolake,
Avey Tare & Kría Brekkan,
The West Coast Pop Art Experimental Band,
Stetsasonic,
Circle Jerks,
Half Japanese,
Rod Modell,
Babytalk,
Lower 48,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Essential Logic,
Derrick Morgan,
The Gun Club,
The Fortunes,
The Count Five,
It's A Beautiful Day,
Rufus Thomas,
World's Most,
Gregory Isaacs,
cv313,
Pharaoh Sanders and the Fire Engines,
Can,
Davy DMX,
Pantytec,
Rites of Spring,
Pulsallama,
Fugazi,
The Sound,
Barbara Tucker,
The Index,
Siglo XX,
Maleditus Sound,
Chris & Cosey,
Ornette Coleman,
Man Parrish,
New Order,
Erykah Badu,
Television,
DNA,
Sun Ra Arkestra,
Rakim,
Lou Reed,
Clear Light,
The Slits,
Johnny Clarke,
Sonic Youth,
Pantaleimon,
Henry Cow,
Skriet,
Kerri Chandler,
Frankie Knuckles,
Black Bananas,
The Golliwogs,
Aaron Thompson,
R.M.O.,
Section 25, Section 25, Section 25, Section 25.
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.