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 Thailand and from Halifax.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Au Pairs to the electroclash 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 Harpers Bizarre. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal jazz 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 a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis 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?
Loose Ends,
James Chance & The Contortions,
Tears for Fears,
B.T. Express,
Bang On A Can,
Boz Scaggs,
Johnny Clarke,
Amon Düül II,
Kerrie Biddell,
Unwound,
The Wake,
Q and Not U,
Newcleus,
Dr. Dre and Snoop Doggy Dog,
Pantaleimon,
Johnny Osbourne,
London Community Gospel Choir,
Oneida,
cv313,
In Retrospect,
Flipper,
kango's stein massive,
Ultravox,
Sexual Harrassment,
Eli Mardock,
The Saints,
Boredoms,
Zero Boys,
The Black Dice,
Bill Near,
Bobby Byrd,
Michelle Simonal,
Bronski Beat,
Soft Machine,
Eddi Front,
Mark Hollis,
Drexciya,
Delon & Dalcan,
Circle Jerks,
Cabaret Voltaire,
Scientists,
Justin Hinds & The Dominoes,
Orchestral Manoeuvres in the Dark,
Thinking Fellers Union Local 282,
Model 500,
Dorothy Ashby,
Essential Logic,
Connie Case,
Fear,
L. Decosne,
Jesper Dahlback,
Girls At Our Best!,
Isaac Hayes,
Ajijia Myrayebe,
The Blackbyrds,
Dennis Brown,
Pierre Henry,
John Lydon,
Banda Bassotti,
Eurythmics,
Accadde A,
Bobby Hutcherson,
The Fugs, The Fugs, The Fugs, The Fugs.
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.