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 St Lucia and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Toronto 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Stereo Dub to the rock kids.
I played it at the Troubador.
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 Lee Hazlewood. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
Gil Scott Heron,
Joe Smooth,
Sparks,
Stockholm Monsters,
The Leaves,
Harry Pussy,
Eyeless In Gaza,
Dorothy Ashby,
Sun Ra,
Animal Collective,
Black Sheep,
The Black Dice,
Morten Harket,
Danielle Patucci,
Bluetip,
Jawbox,
Clear Light,
Echospace,
Soul II Soul,
UT,
Sugar Minott,
Kerri Chandler,
Bootsy's Rubber Band,
Terrestrial Tones,
Kas Product,
The Sisters of Mercy,
Make Up,
Deakin,
Altered Images,
Radio Birdman,
Dual Sessions,
Joensuu 1685,
The Cramps,
This Heat,
The Pretty Things,
Black Pus,
Roger Hodgson,
Eric Copeland,
DNA,
Bauhaus,
Aloha Tigers,
Faraquet,
Teenage Jesus and the Jerks,
Piero Umiliani,
Sixth Finger,
Gichy Dan,
Godley & Creme,
MDC,
Babytalk,
A Flock of Seagulls,
Sunsets and Hearts,
New York Dolls,
Cabaret Voltaire,
Magazine,
The Pop Group,
Rahsaan Roland Kirk,
Dave Gahan,
Peter Gordon & Love of Life Orchestra,
Soft Cell,
The Monks,
Art Ensemble Of Chicago,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.