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 Sudan and from London.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 The Dave Clark Five to the electroclash kids.
I played it at the 40 Watt.
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 Big Daddy Kane. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Sound Behaviour 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Lafayette Afro Rock Band,
Jacques Brel,
F. McDonald,
Barry Ungar,
Strawberry Alarm Clock,
Camouflage,
Beasts of Bourbon,
Brick,
Lee Hazlewood,
Siglo XX,
Model 500,
the Normal,
Alton Ellis,
James White and The Blacks,
Blancmange,
Ash Ra Tempel,
The Litter,
Aaron Thompson,
Colin Newman,
Qualms,
Das Ding,
Hashim,
The Selecter,
Kauko Röyhkä ja Narttu,
Dorothy Ashby,
Magazine,
Moss Icon,
Super Lover Cee & Casanova Rud,
Shuggie Otis,
Darondo,
Bobby Hutcherson,
Mr. Review,
The Cramps,
Ultramagnetic MC's,
Lou Reed,
Erasure,
Nick Fraelich,
Pete Rock & C.L. Smooth,
Talk Talk,
Boz Scaggs,
Pere Ubu,
Rosa Yemen,
Kenny Larkin,
Accadde A,
Sticky Fingaz feat. Raekwon,
Banda Bassotti,
Crispian St. Peters,
Iggy Pop,
Eurythmics,
Echospace,
Lower 48,
Amazonics,
Harry Pussy,
The Remains,
Al Stewart,
Oppenheimer Analysis,
Radiohead,
Black Flag,
Make Up,
Supertramp,
the Soft Cell,
Royal Trux,
Aural Exciters,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.