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 Somalia and from Tehran.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Glasgow and London.
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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Pop Group to the techno 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 Jacques Brel. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every John Coltrane 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
kango's stein massive,
FM Einheit,
The Tremeloes,
Archie Shepp,
Dawn Penn,
AZ,
Avey Tare & Kría Brekkan,
Sixth Finger,
Nik Kershaw,
Robert Wyatt,
Severed Heads,
Sunsets and Hearts,
Ludus,
Von Mondo,
Toni Rubio,
Bang On A Can,
Yaz,
Ornette Coleman,
Livin' Joy,
Desert Stars,
Donald Byrd,
Black Flag,
Electric Light Orchestra,
EPMD,
Heaven 17,
Moebius,
Lebanon Hanover,
Rosa Yemen,
Basic Channel,
Barbara Tucker,
Tropical Tobacco,
Soulsonic Force,
Boz Scaggs,
Wasted Youth,
Avey Tare's Slasher Flicks,
The Remains,
Kings Of Tomorrow,
Warsaw,
Ponytail,
Selector Dub Narcotic,
Marshall Jefferson,
Ultravox,
Drive Like Jehu,
Negative Approach,
The Pop Group,
The Sonics,
Index,
The Grass Roots,
Gil Scott Heron,
Grandmaster Flash,
Hardrive,
Franke,
Delta 5,
Deakin,
Mo-Dettes,
Grauzone,
Ultramagnetic MC's,
Amon Düül II,
The Saints,
Lou Reed,
The Misunderstood,
MC5,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.