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 Czech Republic and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Bologna 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 rhodes 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 Standells to the punk kids.
I played it at Trash.
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 Anthony Braxton. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Black Pus,
Anakelly,
Angels of Light & Akron/Family,
Lyres,
R.M.O.,
The Modern Lovers,
Radio Birdman,
The Raincoats,
The Men They Couldn't Hang,
The Durutti Column,
JFA,
Pylon,
Pierre Henry,
Charles Mingus,
Toni Rubio,
Rhythm & Sound,
Animal Collective,
Echo & the Bunnymen,
Shuggie Otis,
Soft Machine,
Goldenarms,
Zapp,
The Velvet Underground,
The Slackers,
Cheater Slicks,
Electric Prunes,
Inner City,
Roxette,
The Moody Blues,
Robert Görl,
Ten City,
Neil Young & Crazy Horse,
Flamin' Groovies,
Kerri Chandler,
The Stooges,
Hashim,
Ralphi Rosario,
Tubeway Army,
Wolf Eyes,
X-101,
Ronnie Foster,
Robert Wyatt,
Boredoms,
Bobby Byrd,
The Vogues,
Theoretical Girls,
Mark Hollis,
Boz Scaggs,
The Gladiators,
Grey Daturas,
Erasure,
The Blues Magoos,
The Last Poets,
Wings,
Japan,
Gang Gang Dance,
Cal Tjader,
Eurythmics,
L. Decosne,
Brothers Johnson,
Subhumans,
Nirvana, Nirvana, Nirvana, Nirvana.
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.