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 Seychelles and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Beijing and London.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Rapeman to the grime kids.
I played it at the Roxy.
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 Scott Walker. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every The Smiths 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 '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
Rod Modell,
Ossler,
Crime,
Aloha Tigers,
Henry Cow,
Bizarre Inc.,
Ultimate Spinach,
One Last Wish,
John Lydon,
Reuben Wilson,
Mars,
Lucky Dragons,
Dennis Brown,
Don Cherry,
New Order,
Dorothy Ashby,
T.S.O.L.,
Funky Four + One,
Ultra Naté,
Carl Craig,
Sun City Girls,
The Fugs,
James Chance & The Contortions,
Shuggie Otis,
Buzzcocks,
Slave,
The Modern Lovers,
Marvin Gaye,
The Tremeloes,
Kenny Larkin,
The Cure,
Section 25,
The Shadows of Knight,
Scott Walker + Sunn O))),
Marshall Jefferson,
Liaisons Dangereuses,
Stiv Bators,
Sarah Menescal,
Black Bananas,
Maleditus Sound,
Charles Mingus,
Joyce Sims,
Guru Guru,
Ronan,
Tim Buckley,
Big Daddy Kane,
Wire,
Neil Young & Crazy Horse,
Bang On A Can,
Outsiders,
Dawn Penn,
Grey Daturas,
Los Fastidios,
Circle Jerks,
Gang Starr,
Orchestral Manoeuvres in the Dark,
Jerry Gold Smith,
Lafayette Afro Rock Band,
Ohio Players,
Todd Terry,
Unwound,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.