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 Guatemala and from Beijing.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Halifax and Beijing.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar 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 Black Moon to the jazz 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 Simply Red. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Oppenheimer Analysis,
T.S.O.L.,
Strawberry Alarm Clock,
Dorothy Ashby,
Bush Tetras,
Monks,
The Walker Brothers,
Freddie Wadling,
Livin' Joy,
Eric Copeland,
The Victims,
Franke,
Jandek,
Bobby Byrd,
Delta 5,
Reuben Wilson,
Mad Mike,
The J.B.'s,
Tropical Tobacco,
Sarah Menescal,
Max Romeo,
Babytalk,
The Remains,
Erasure,
Louis and Bebe Barron,
Scientists,
F. McDonald,
The Five Americans,
Deadbeat,
Tomorrow,
Notorious Big And Bone Thugs,
The Durutti Column,
Notorious BIG live in Amsterdam,
The Fortunes,
Man Eating Sloth,
Warren Ellis,
Moby Grape,
Jesper Dahlbäck,
Newcleus,
Ten City,
Thee Headcoats,
The Flesh Eaters,
Lafayette Afro Rock Band,
Josef K,
Marc Romboy vs. Booka Shade,
Pulsallama,
Amon Düül II,
Skarface,
Fifty Foot Hose,
Easy Going,
The Buckinghams,
Excepter,
Model 500,
Byron Stingily,
Johnny Osbourne,
Barbara Tucker,
Aural Exciters,
Eric Dolphy,
Negative Approach,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.