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 Fiji and from Shanghai.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school London 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 chamberlin 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 Eddi Front to the funk 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 Boogie Down Productions. All the underground hits.
All UT tracks. I heard you have a vinyl of every Ralphi Rosario record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Barry Ungar,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kevin Saunderson,
Theoretical Girls,
Byron Stingily,
Minor Threat,
Neil Young,
Magazine,
The Pop Group,
Dual Sessions,
Electric Prunes,
Easy Going,
Organ,
John Coltrane,
Supertramp,
Cluster,
Howard Jones,
These Immortal Souls,
Pulsallama,
Index,
Amon Düül,
Joensuu 1685,
Brass Construction,
Sixth Finger,
The Detroit Cobras,
Graham Central Station,
The American Breed,
Eric Copeland,
Flamin' Groovies,
Shoche,
Grey Daturas,
Terrestrial Tones,
Rotary Connection,
Chris Corsano,
OOIOO,
The Sisters of Mercy,
Massinfluence,
June Days,
Grandmaster Flash and the Furious Five,
Bill Near,
Dave Gahan,
Joey Negro,
New Order,
Talk Talk,
Strawberry Alarm Clock,
Leonard Cohen,
The Electric Prunes,
The Cure,
Smog,
Saccharine Trust,
Section 25,
Marc Almond,
Buzzcocks,
the Germs,
Delta 5,
Barbara Tucker,
Andrew Hill,
Scott Walker + Sunn O))),
Bob Dylan,
Severed Heads,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.