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 Egypt and from Mumbai.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Cairo and Calgary.
I'm losing my edge to the art-school Woodstock 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Deepchord 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 New Order. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Quantec,
Echo & the Bunnymen,
Maurizio,
Model 500,
The Dave Clark Five,
The Seeds,
Pussy Galore,
Newcleus,
Lower 48,
Crime,
Ossler,
The Pop Group,
Supertramp,
Camouflage,
The Black Dice,
Ultra Naté,
Porter Ricks,
Flipper,
Average White Band,
The Misunderstood,
Deadbeat,
Rhythm & Sound,
Sight & Sound,
Fluxion,
The Kinks,
D'Angelo,
Magazine,
Roxette,
Minnie Riperton,
The Royal Family And The Poor,
Hashim,
Neil Young & Crazy Horse,
Jeru the Damaja,
London Community Gospel Choir,
The Searchers,
Magma,
Von Mondo,
Chris Corsano,
Throbbing Gristle,
The Star Department,
Slave,
The Walker Brothers,
Goldenarms,
The Offenders,
Ultimate Spinach,
Bobbi Humphrey,
The Buckinghams,
Masters at Work,
Minor Threat,
R.M.O.,
Rod Modell,
Grauzone,
Jacob Miller,
Don Cherry,
Art Ensemble Of Chicago,
New Age Steppers,
Organ,
Mantronix,
Rosa Yemen,
Althea and Donna,
John Holt,
ABBA, ABBA, ABBA, ABBA.
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.