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 Yemen and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Spokane 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Al Stewart to the crunk kids.
I played it at the Spitz.
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 Thee Headcoats. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Das Ding 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Ten City,
Kauko Röyhkä ja Narttu,
Isaac Hayes,
Bobbi Humphrey,
Alphaville,
EPMD,
Susan Cadogan,
Deadbeat,
Fat Boys,
Excepter,
The Remains,
Banda Bassotti,
Talk Talk,
Ornette Coleman,
Sun Ra,
Agitation Free,
8 Eyed Spy,
Piero Umiliani,
One Last Wish,
Grauzone,
Qualms,
Maurizio,
The Neon Judgement,
Avey Tare's Slasher Flicks,
Bobby Byrd,
Avey Tare,
Lebanon Hanover,
La Düsseldorf,
Aaron Thompson,
Drive Like Jehu,
Das Ding,
Wire,
Desert Stars,
Hoover,
Rowland S Howard / Lydia Lunch,
Organ,
Franke,
The Black Dice,
Max Romeo,
Notorious BIG live in Amsterdam,
The Residents,
Throbbing Gristle,
John Lydon,
Outsiders,
Pylon,
Slick Rick,
Eric Dolphy,
Bauhaus,
The Walker Brothers,
Toni Rubio,
Fad Gadget,
Little Man,
Liaisons Dangereuses,
Jawbox,
The Happenings,
Section 25,
Sparks,
Stereo Dub,
Icehouse,
The Busters,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.