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 Bahamas and from Tehran.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Tehran 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 theremin 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 Judy Mowatt to the rap 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 Monks. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Derrick May 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Godley & Creme,
Nick Cave & The Bad Seeds,
Thee Headcoats,
Lebanon Hanover,
Arcadia,
Prince Buster,
Avey Tare's Slasher Flicks,
Quadrant,
Judy Mowatt,
Wolf Eyes,
Sun Ra Arkestra,
Andrew Hill,
Nirvana,
The Moody Blues,
Gang of Four,
Lightning Bolt,
Public Image Ltd.,
Von Mondo,
The Blues Magoos,
Ten City,
Marcia Griffiths,
Slick Rick,
Big Daddy Kane,
Juan Atkins,
World's Most,
D'Angelo,
The Saints,
Jeff Mills,
Barclay James Harvest,
L. Decosne,
Saccharine Trust,
Porter Ricks,
Slave,
Aural Exciters,
Wire,
Wighnomy Brothers & Robag Wruhme,
Cluster,
Robert Hood,
Gary Puckett & The Union Gap,
Agent Orange,
The Walker Brothers,
Siglo XX,
Teenage Jesus and the Jerks,
Shoche,
Negative Approach,
Mission of Burma,
The Searchers,
Sun City Girls,
David Axelrod,
Sister Nancy,
Warsaw,
The Fuzztones,
Harry Pussy,
Icehouse,
Adolescents,
Ken Boothe,
Angry Samoans,
Warren Ellis,
John Coltrane,
The Sisters of Mercy,
E-Dancer,
Absolute Body Control,
Avey Tare,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.