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 Dominican Republic and from Houston.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Marcia Griffiths to the techno 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 Tim Buckley. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Marc Romboy vs. Booka Shade,
Swans,
Goldenarms,
Cameo,
Ronan,
Altered Images,
Lafayette Afro Rock Band,
John Lydon,
The Count Five,
Unwound,
Qualms,
Duran Duran,
Faust,
Roxy Music,
Maleditus Sound,
Johnny Clarke,
Von Mondo,
Scott Walker + Sunn O))),
The Human League,
Groovy Waters,
Pharaoh Sanders and the Fire Engines,
Mad Mike,
The Detroit Cobras,
Thinking Fellers Union Local 282,
Thompson Twins,
Roger Hodgson,
Tommy Roe,
Radiopuhelimet,
Archie Shepp,
U.S. Maple,
Model 500,
Glambeats Corp.,
Art Ensemble Of Chicago,
The Fire Engines,
Byron Stingily,
Nick Cave & The Bad Seeds,
Funkadelic,
The Gap Band,
Visage,
Underground Resistance,
Red Lorry Yellow Lorry,
JFA,
EPMD,
Moebius,
Audionom,
Ice-T,
Parry Music,
Robert Görl,
Tim Buckley,
Half Japanese,
Yusef Lateef,
Lucky Dragons,
Siglo XX,
Boredoms,
John Cale,
OOIOO,
Ralphi Rosario,
Scion,
Sam Rivers,
Sexual Harrassment,
Kerrie Biddell,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.